By Antony Eastmond
The church of Hagia Sophia in Trebizond, equipped by means of the emperor Manuel I Grand Komnenos (1238-63) within the aftermath of the autumn of Constantinople to the Fourth campaign, is the best surviving Byzantine imperial monument of its interval. paintings and identification in Thirteenth-Century Byzantium is the 1st research of the church in additional than thirty years, and is generally illustrated in color and black-and-white, with many pictures that experience by no means formerly been released. Antony Eastmond examines the architectural, sculptural and painted of the church, putting them within the context of latest advancements somewhere else within the Byzantine international, in Seljuq Anatolia and one of the Caucasian neighbours of Trebizond. wisdom of this zone has been remodeled within the final 20 years, following the cave in of the Soviet Union. the recent facts that has emerged allows a appreciably assorted interpretation of the church to be reached, and increases questions of cultural interchange at the borders of the Christian and Muslim worlds of jap Anatolia, the Caucasus and Persia. This examine makes use of the church and its ornament to envision questions of Byzantine id and imperial ideology within the 13th century. this can be critical to any knowing of the interval, because the fall of Constantinople in 1204 divided the Byzantine empire and compelled the successor states in Nicaea, Epiros and Trebizond to redefine their techniques of empire in exile. artwork is right here exploited as major ancient facts for the character of imperial energy in a contested empire. it is strongly recommended that imperial identification was firm as a lot via craftsmen and expectancies of imperial strength as by means of the emperor's decree; and that this used to be a reputable replacement Byzantine identification to that constructed within the empire of Nicaea.
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