Palaeological Renaissance

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The late phase of Byzantine art , around the time from the conquest of Constantinople in 1204 to the fall of the Byzantine Empire in 1453 (dynasty of the Palaiologists ), is drawn with the Palaiological Renaissance . It continued, especially in painting, into the 17th century in Russia and Crete (early phase of El Greco ). Through the internationalization of Byzantine art and its mediation in the Slavic countries ( Bulgaria , Serbia , Russia ), Byzantine art opens up new currents, which lead to a rich flowering in both painting and architecture.

The outstanding works of art of the Palaiological Renaissance include the frescoes of the 13th century ( Bojana , Studenica , Sopoćani and Mileševa ), the mosaics of the gallery of Hagia Sophia and the paintings and mosaics of the Chora Church in Constantinople, characterized by their humanism and sense of reality . The frescoes of the early 15th century by Kalenić , Manasija and Pantanasija in Mistra as well as the icons by Andrei Rublev show further developments of the palaeological renaissance, which in the Balkan countries through the external splendor, in the northern Russian countries the spiritual art of Rublev and the ascetic art Theophanes style of the Greeks are shaped.

gallery

  • Andrei Rublev: Icon of the Holy Trinity

  • Jesus Christ from the Deësis mosaic of Hagia Sophia

  • Five - domed cross- domed church , Gračanica Monastery , first half of the 14th century

  • Kalenić Monastery , late Byzantine Trikonchonos, after 1407

  • Byzantine double icon (Constantinople early 14th century) with the proclamation. Ohrid Icon Museum

  • Detail of the Evangelists of the monumental fresco Dormition Mother of God , Sopocani, 13th century

  • Mosaic with the Virgin and Child, north dome in the esonarthex of the Chora church

  • Fresco of Anastasis , Chora Church

literature

  • Slobodan Ćurčić : Religious Settings of the Late Byzantine Sphere. In: Helen Evans (ed.): Byzantium. Faith and Power (1261-1557). The Metropolitan Museum of Art, New York 2004. pp. 65-77.
  • Vojislav J. Đurić: Slikar Radoslav i freske Kalenica / Le peintre Radoslav et les fresques de Kalenic. In: Zograf. 2, 1967, pp. 21-29.
  • Vojislav J. Đurić: La peinture murale de Resava: Ses origines et sa place dans la peinture byzantine. In: Vojislav J. Đurić (ed.): Moravska skola i njeno doba: Nauchmi skup u Resavi 1968 / L'École de la Morava et son temps: Symposium de Résava 1968. Belgrade 1972, pp. 277-291.
  • Helen C. Evans (Ed.): Byzantium. Faith and Power (1261-1557). The Metropolitan Museum of Art, New York 2004 (exhibition catalog).
  • Tania Velmans : Infiltrations occidentales dans la peinture murale byzantine au XIVe et au début du XVe siècle . In: Vojislav J. Duric (ed.): Moravska skola i njeno doba: Nauchmi skup u Resavi 1968 / L'École de la Morava et son temps: Symposium de Résava 1968. Belgrade 1972, pp. 37-48.