Painters’ Names as Saints’ Amulets: Of Inscribing Oneself into Sacredness
2020
Аутори
Đorđević, JakovОстала ауторства
Maeva, M.Erolova, Y.
Stoyanova, P.
Hristova, M.
Ivanova, V.
Конференцијски прилог (Објављена верзија)
,
Institute of Ethnology and Folklore Studies with Ethnographic Museum, Bulgarian Academy of Sciences
Метаподаци
Приказ свих података о документуАпстракт
Michael Astrapas, Eutychios and John Theorianos are the three Byzantine
painters who are known to have left signatures painted somewhere amidst the attire of
the warrior saints they depicted (swords, armour, shields, or garments). Whether in the
form of simple monograms or as part of a more complex formulation, this paper aims
to show that they envisioned their names as amulets for the chosen saints, intentionally
instigating paradox. After exploring the customary ways in which painters usually
acquired a ‘sacred share’ of their work, the paper analyses the conceptualised understanding
of inversion as an instrument pregnant with power and possibilities. Special
attention is given to the examples of signatures on painted vessels in narrative scenes,
for they do not imply any obvious connection to the proximate saintly f igures, and
thus seemingly undermine the delivered argument. Finally, by making an illustrative
comparison with the famous Wilton Diptych and its angels repre...sented as though they
are in service of King Richard II while tending the Virgin Mary, it is argued that the
three Byzantine painters relied on the magical conception of inversion, as well as the
notion of gift exchange, in order to achieve their ultimate goal – gaining lasting divine
protection.
Кључне речи:
Byzantine amulets / painters’ signatures / gift exchange / vows / mutual bondsИзвор:
Between the Worlds: Magic, Miracles and Mysticism, 2020, 2, 113-129Издавач:
- Institute of Ethnology and Folklore Studies with Ethnographic Museum, Bulgarian Academy of Sciences
Институција/група
Istorija umetnosti / History of ArtTY - CONF AU - Đorđević, Jakov PY - 2020 UR - http://reff.f.bg.ac.rs/handle/123456789/5552 AB - Michael Astrapas, Eutychios and John Theorianos are the three Byzantine painters who are known to have left signatures painted somewhere amidst the attire of the warrior saints they depicted (swords, armour, shields, or garments). Whether in the form of simple monograms or as part of a more complex formulation, this paper aims to show that they envisioned their names as amulets for the chosen saints, intentionally instigating paradox. After exploring the customary ways in which painters usually acquired a ‘sacred share’ of their work, the paper analyses the conceptualised understanding of inversion as an instrument pregnant with power and possibilities. Special attention is given to the examples of signatures on painted vessels in narrative scenes, for they do not imply any obvious connection to the proximate saintly f igures, and thus seemingly undermine the delivered argument. Finally, by making an illustrative comparison with the famous Wilton Diptych and its angels represented as though they are in service of King Richard II while tending the Virgin Mary, it is argued that the three Byzantine painters relied on the magical conception of inversion, as well as the notion of gift exchange, in order to achieve their ultimate goal – gaining lasting divine protection. PB - Institute of Ethnology and Folklore Studies with Ethnographic Museum, Bulgarian Academy of Sciences C3 - Between the Worlds: Magic, Miracles and Mysticism T1 - Painters’ Names as Saints’ Amulets: Of Inscribing Oneself into Sacredness EP - 129 SP - 113 VL - 2 UR - https://hdl.handle.net/21.15107/rcub_reff_5552 ER -
@conference{ author = "Đorđević, Jakov", year = "2020", abstract = "Michael Astrapas, Eutychios and John Theorianos are the three Byzantine painters who are known to have left signatures painted somewhere amidst the attire of the warrior saints they depicted (swords, armour, shields, or garments). Whether in the form of simple monograms or as part of a more complex formulation, this paper aims to show that they envisioned their names as amulets for the chosen saints, intentionally instigating paradox. After exploring the customary ways in which painters usually acquired a ‘sacred share’ of their work, the paper analyses the conceptualised understanding of inversion as an instrument pregnant with power and possibilities. Special attention is given to the examples of signatures on painted vessels in narrative scenes, for they do not imply any obvious connection to the proximate saintly f igures, and thus seemingly undermine the delivered argument. Finally, by making an illustrative comparison with the famous Wilton Diptych and its angels represented as though they are in service of King Richard II while tending the Virgin Mary, it is argued that the three Byzantine painters relied on the magical conception of inversion, as well as the notion of gift exchange, in order to achieve their ultimate goal – gaining lasting divine protection.", publisher = "Institute of Ethnology and Folklore Studies with Ethnographic Museum, Bulgarian Academy of Sciences", journal = "Between the Worlds: Magic, Miracles and Mysticism", title = "Painters’ Names as Saints’ Amulets: Of Inscribing Oneself into Sacredness", pages = "129-113", volume = "2", url = "https://hdl.handle.net/21.15107/rcub_reff_5552" }
Đorđević, J.. (2020). Painters’ Names as Saints’ Amulets: Of Inscribing Oneself into Sacredness. in Between the Worlds: Magic, Miracles and Mysticism Institute of Ethnology and Folklore Studies with Ethnographic Museum, Bulgarian Academy of Sciences., 2, 113-129. https://hdl.handle.net/21.15107/rcub_reff_5552
Đorđević J. Painters’ Names as Saints’ Amulets: Of Inscribing Oneself into Sacredness. in Between the Worlds: Magic, Miracles and Mysticism. 2020;2:113-129. https://hdl.handle.net/21.15107/rcub_reff_5552 .
Đorđević, Jakov, "Painters’ Names as Saints’ Amulets: Of Inscribing Oneself into Sacredness" in Between the Worlds: Magic, Miracles and Mysticism, 2 (2020):113-129, https://hdl.handle.net/21.15107/rcub_reff_5552 .