A Byzantine Settlement in Cappadocia

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Dumbarton Oaks, 2005 - 474 pages
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Based on four seasons of fieldwork, this book presents the results of the first systematic site survey of a region rich in material remains. From architecture to fresco painting, Cappadocia represents a previously untapped resource for the study of material culture and the settings of daily life within the Byzantine Empire.
 

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Table des matières

The Church of the Canh Kilise
7
The Settlement at the Canh Kilise
79
Architectural Sculpture and Disjecta Membra
187
Ceramics
196
The 1994 Salvage Excavation
202
Bibliography
209
Index
465
Droits d'auteur

Autres éditions - Tout afficher

Expressions et termes fréquents

Fréquemment cités

Page 210 - Une nouvelle province de I'art byzantin: Les eglises rupestres de Cappadoce. 2 vols. Paris, 1925-42. Jobst, W., B. Erdal, and C. Gurtner, Istanbul Buyuk Saray Mozayigi. Istanbul, 1997. Jolivet-Levy, C. "Nouvelle decouverte en Cappadoce: Les eglises de Yiiksekli.
Page 180 - II (996) put it, even small landowners might decide to devote their property and themselves to the religious life: For they say that it happens in many of the villages that the peasant builds a church on his land and with the permission of his fellow villagers, grants it all his property, then becomes a monk and spends the rest of his life there.
Page 180 - JP Thomas, Private Religious Foundations in the Byzantine Empire (Washington, DC, 1987), pp.
Page 148 - Byzantium in the Ninth Century: Dead or Alive?, ed. L. BRUBAKER (Aldershot, 1998), pp.
Page xvii - WM Ramsay and GL Bell, The Thousand and One Churches. London, 1909 E.
Page 193 - Far more analyses have been performed on Roman fresco pigments, particularly on blues and greens (Bearat et al. 1997, Kakoulli 1997, Jaro 1987). In addition to the colors mentioned above, the Roman palette for reds included occasional use of cinnabar (mercury sulphide, HgS), red lead, and madder root (all usually applied as a secco coating). Greens included various compounds of copper such as malachite and cuprite (CujO), and the primary blue was Egyptian blue or cuprorivaite.
Page 207 - When this side was painted, the icon was turned upside down so that the ogive is at the bottom, thus giving the icon a shield-like shape. The colors are not as rich as on the obverse; the gold ground appears flatter, over a thinner layer of gesso. A thin band of gold frames the green ground. The upper portions of Constantine and the Cross are missing; part of Helenas face survives, but her entire right side is missing.
Page 194 - This suggests that the change in plaster composition was a deliberate choice by the fresco painters. Conclusions: Our frescoes vary in style, microscopic appearance, and composition of the pigments and plasters between different sections of the building. If the frescoes had all been painted at the same time with the same batch of pigments, one would expect more homogeneity. The analytical results support the original archaeological hypothesis that the frescoes were painted at different times with...
Page 206 - Two sets of two pieces fit together, forming lengths of 21.5 and 19 cm; the additional piece is 7.0 cm long. One piece preserves a drill hole, possibly for mounting. These moldings may have been part of an architectural frame or a tomb decoration. Similar pieces were found in the parekklesion in 1997; see Appendix 1.
Page 207 - ... a book. Indecipherable traces of the inscription, in red letters, are preserved on the upper left side. The identity of the saint represented on the icon is uncertain. However, the short grey beard, rosy complexion, and lively eyes with black pupils suggest St. Gregory the Theologian as a likely candidate.

À propos de l'auteur (2005)

Robert G. Ousterhout is Professor in the Department of the History of Art and Director of the Center for Ancient Studies at the University of Pennsylvania.

Informations bibliographiques