{"title":"阿索斯山上拜占庭中期纪念性绘画的重新评估。赞助，约会和风格","authors":"Konstantinos Vapheiades","doi":"10.2298/zog2145079v","DOIUrl":null,"url":null,"abstract":"Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.","PeriodicalId":56170,"journal":{"name":"Zograf","volume":"1 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"A reassessment of middle Byzantine monumental painting on Mount Athos. Patronage, dating and style\",\"authors\":\"Konstantinos Vapheiades\",\"doi\":\"10.2298/zog2145079v\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.\",\"PeriodicalId\":56170,\"journal\":{\"name\":\"Zograf\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2021-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Zograf\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.2298/zog2145079v\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Zograf","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2298/zog2145079v","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
A reassessment of middle Byzantine monumental painting on Mount Athos. Patronage, dating and style
Our view of Middle Byzantine monumental painting on Mount Athos remains fragmentary, mainly due to the absence of textual sources on workshops and patronage. Thus, the attribution of pictorial ensembles to this period largely depends on their association with the artistic environments of Komnenian Constantinople and Thessalonike. Based on epigraphic, iconographic and stylistic evidence, the following article will offer an overall assessment of the extant fragments raising new questions as to their style, dating and patrons.
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