Belting Before Belting From Moscow, to Constantinople, and to Georgia

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F21%3A00119189" target="_blank" >RIV/00216224:14210/21:00119189 - isvavai.cz</a>

Výsledek na webu

<a href="http://www.brepols.net/Pages/BrowseBySeries.aspx?TreeSeries=CONVISUP" target="_blank" >http://www.brepols.net/Pages/BrowseBySeries.aspx?TreeSeries=CONVISUP</a>

DOI - Digital Object Identifier

—

Jazyk výsledku

angličtina

Název v původním jazyce

Belting Before Belting From Moscow, to Constantinople, and to Georgia

Popis výsledku v původním jazyce

One of the last half century’s most important art historical theorists, Hans Belting has introduced revolutionary critical concepts and proposed new methodological solutions. Belting’s effect was beginning to be widely felt in 1979. While in Georgia studying the frescoes of the late-fourteenth-century Constantinopolitan painter Manuel Eugenikos at Ts’alenjikha, he clashed with Viktor Lazarev, one of the foremost experts on Byzantine art. Using a strictly stylistic method, Belting opposed Lazarev’s denigration of Manuel Eugenikos as representing Byzantine decadence. To Lazarev’s crypto-nationalist discourse, he argued against an internationalist outlook rooted in thought developed in the 1950s by scholars at Dumbarton Oaks in Washington, d.c. As this article articulates, both positions are best understood as part of the dialectic debate on the role of Byzantine art that, since the early-twentieth century, countered the Russian/Soviet historiography and the cosmopolitan one supported by émigré scholars in Europe and the United States.

Název v anglickém jazyce

Belting Before Belting From Moscow, to Constantinople, and to Georgia

Popis výsledku anglicky

One of the last half century’s most important art historical theorists, Hans Belting has introduced revolutionary critical concepts and proposed new methodological solutions. Belting’s effect was beginning to be widely felt in 1979. While in Georgia studying the frescoes of the late-fourteenth-century Constantinopolitan painter Manuel Eugenikos at Ts’alenjikha, he clashed with Viktor Lazarev, one of the foremost experts on Byzantine art. Using a strictly stylistic method, Belting opposed Lazarev’s denigration of Manuel Eugenikos as representing Byzantine decadence. To Lazarev’s crypto-nationalist discourse, he argued against an internationalist outlook rooted in thought developed in the 1950s by scholars at Dumbarton Oaks in Washington, d.c. As this article articulates, both positions are best understood as part of the dialectic debate on the role of Byzantine art that, since the early-twentieth century, countered the Russian/Soviet historiography and the cosmopolitan one supported by émigré scholars in Europe and the United States.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GF21-01706L" target="_blank" >GF21-01706L: Kulturní dialogy v Jihokavkazském regionu ve středověku: historiografická a historicko-umělecká perspektiva</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2021

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Convivium: Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterranean

ISSN

2336-3452

e-ISSN

2336-808X

Svazek periodika

8

Číslo periodika v rámci svazku

Supplementum 1

Stát vydavatele periodika

BE - Belgické království

Počet stran výsledku

8

Strana od-do

18-25

Kód UT WoS článku

000696183700002

EID výsledku v databázi Scopus

—