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      Medieval wall paintings in Transylvanian orthodox churches

      Medieval wall paintings in Transylvanian orthodox churches

      Iconographic subjects in historical context
      0.0 / 10 ( 0 votes)
      Language:
      Engleza
      Publishing Date:
      2019
      Publisher:
      Cover Type:
      Hardcover
      Page Count:
      376
      ISBN:
      9786065437807
      Dimensions: l: 18cm | H: 25cm
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      Publisher's Synopsis

      The research started from the premise that at least some of the wall paintings reflect the special social, political, and religious situation of the donors as knezes and Orthodox (Greek-rite) Christians in the Hungarian kingdom. Topics have been selected from the paintings of eight churches: the church of St. George in Streisangeorgiu (Hu. Sztrigyszentgyörgy), the church of the Dormition of the Virgin in Strei (Hu. Zeykfalva), the church of St. Nicholas in Densus (Hu. Demsus), the church of St. Nicholas in Lesnic (Hu. Lesnyek/Lesnek), the Reformed church in Santamaria Orlea (Hu. Őraljaboldogfalva), the church of the Dormition of the Virgin in Criscior (Hu. Kristyor), the church of St. Nicholas in Ribita (Hu. Ribice), and the church of the Dormition of the Virgin in Halmagiu (Hu. Nagyhalmágy). The churches were situated in two neighboring medieval counties – Hunyad, in the Transylvanian voivodate, and Zaránd – and the paintings date from the fourteenth and fifteenth centuries. The investigation is limited to Hunyad and Zaránd Counties, where the main body of medieval wall paintings in Orthodox churches has been preserved. In addition, the historical background of the donors is comparable in both regions. The pictorial subjects that have been selected for research are interpreted in relation to their social, political, and religious context. The study of the donor portraits, military saints, holy kings of Hungary, and the Exaltation of the Holy Cross focuses on their relevance for the social and political life of the knezes. The study of the paintings in the sanctuaries mainly sheds light on aspects of the religious life of the donors or local communities. The images are analyzed taking into account the use and meaning of their subjects in Eastern and Western, particularly Hungarian, painting, and the available information regarding their historical context. While indeed the pictorial message may be understood only through its historical background, the paintings themselves can also suggest new directions for research or favor a particular interpretation suggested by other types of sources.”

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