Books by Andrea Torno Ginnasi
ISBN 978 1 905739 97 4 ISBN 978 1 905739 98 1 (ePdf) © Archaeopress and A Torno Ginnasi 2014 Cove... more ISBN 978 1 905739 97 4 ISBN 978 1 905739 98 1 (ePdf) © Archaeopress and A Torno Ginnasi 2014 Cover image: Mosca, Museo Statale Puškin, tavoletta in avorio: incoronazione di Costantino VII da parte di Cristo.
Il 'revival' della colonna coclide quale strumento di propaganda all'epoca di Teodosio I (379-395... more Il 'revival' della colonna coclide quale strumento di propaganda all'epoca di Teodosio I (379-395). Appunti sullo stato della ricerca 15 Alessandro Taddei Brevi note intorno ad un recente studio sulla committenza artistica in età macedone (867-1025) 37 Mauro della Valle Il silenzio di Lazzaro nel Carm. 80 di Cristoforo Mitileneo 53
Articles in Journals by Andrea Torno Ginnasi
L’article traite de l’iconographie du souverain avec l’épée dégaînée dans la culture figurative b... more L’article traite de l’iconographie du souverain avec l’épée dégaînée dans la culture figurative byzantine et du rapport, visuel et idéologique, avec les images de l’archange Michel selon la même typologie. La première partie analyse, du point de vue historique et artistique, le célèbre exemple de la monnaie en or d’Isaac Ier, avec d’autres cas similaires liés, à divers titres, au milieu byzantin, ou attestés par les sources littéraires. La deuxième partie est dédiée aux images de l’archange qui se développent à Byzance peu de temps avant la représentation sur la monnaie. La section conclusive met en évidence les «dialogues iconographiques» entre les figures du souverain et de l’archange qui partagent le même rôle de protecteurs de l’Empire, afin de comprendre la valeur du thème impérial et les traits d’une diffusion limitée, bien que présente, dans l’art de cour.
L’article, divisé en deux parties, est dédié aux changements formels et iconographiques sur les m... more L’article, divisé en deux parties, est dédié aux changements formels et iconographiques sur les monnaies et les bulles impériales produites à Constantinople au cours de la soi-disant «Renaissance macédonienne». La première section analyse les aspects formels par rapport aux nouveaux schémas de présentation des protagonistes et aux tentatives de dépassement de portraits stéréotypés. La deuxième section concerne les aspects iconographiques, de l’apparition de personnages sacrés à la naissance de l’image du couronnement symbolique de l’empereur. Bien que l’idée d’une vraie renaissance artistique ait été relativisée, les innovations monétaires de ces décennies dévoilent une vivacité figurative renouvelée qui caractérisera même les émissions suivantes.
This article deals with the alleged and lost ʻcoinʼ of the Empress Theophano (959-969), attested ... more This article deals with the alleged and lost ʻcoinʼ of the Empress Theophano (959-969), attested by one eighteenth-century engraving and other two of the nineteenth-century. Since several lead seals with similar portrait and inscriptions survive, many scholars have evaluated the graphic documents deriving from a real copper coin or from a seal of the existing type. A careful iconographic and stylistic analysis would suggest the restitution of two distinct objects; this idea was never presented before because of the little consideration of the eighteenth-century engraving. The comparison with other middle Byzantine numismatic and sphragistic examples suggests for the first engraving the reproduction of an unknown and misunderstood lead seal and, for the second and third one, the image of a forgery executed in the wake of the more ancient illustration.
L’article analyse les émissions monétaires byzantines de la période macédonienne liées au couronn... more L’article analyse les émissions monétaires byzantines de la période macédonienne liées au couronnement impérial. Le matériel examiné a été reparti en deux sections. Le premier groupe comprend les monnaies qui montrent l’image du couronnement du souverain par un personnage sacré, un thème très diffusé dans l’art et la numismatique de l’âge moyen; le deuxième groupe est dedié aux émissions réalisées, possiblement, pour le rite du couronnement, indépendamment du sujet. Tandis que les témoignages de la première section sont nombreuses, il résulte très difficile individuer, avec certitude, des monnaies frappées pour l’occasion cérémonielle, bien qu’on puisse conjecturer l’existence de quelques cas.
Art. in Congress Proceedings and Collected Volumes by Andrea Torno Ginnasi
Il 'revival' della colonna coclide quale strumento di propaganda all'epoca di Teodosio I (379-395... more Il 'revival' della colonna coclide quale strumento di propaganda all'epoca di Teodosio I (379-395). Appunti sullo stato della ricerca 15 Alessandro Taddei Brevi note intorno ad un recente studio sulla committenza artistica in età macedone (867-1025) 37 Mauro della Valle Il silenzio di Lazzaro nel Carm. 80 di Cristoforo Mitileneo 53
È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata, compresa la fotocopia,... more È vietata la riproduzione, anche parziale, con qualsiasi mezzo effettuata, compresa la fotocopia, anche a uso interno o didattico, senza la regolare autorizzazione. * Sinceri ringraziamenti sono rivolti al Prof. Fabrizio Conca e, idealmente, al compianto Prof. Gianfranco Fiaccadori per l'invito a partecipare alla Giornata di Studi, al Prof. Mauro della Valle per aver seguito le ricerche qui presentate e alla Dott.ssa Jessica Varsallona per l'aiuto nell'individuazione e nella correzione di refusi nel testo.
The sovereign on horseback is one of the commonest image in ancient and medieval royal art, both ... more The sovereign on horseback is one of the commonest image in ancient and medieval royal art, both in the East and in the West. After late antique works depicting the supremacy of the ruler on the enemy, Constantinopolitan examples show an interest more and more focused on ceremonial aspects to the detriment of military leanings. Even if Byzantine numismatics just offers few chances of comparison, these immediately suggest an ideological and celebrative aim, developing a sacral meaning during the late period. Issues of the so-called Byzantine Commonwealth and other rival reigns present the subject more frequently, revealing multiple inluences, thanks also to the mediation of Crusader imagery. Norman Italy’s examples express Western roots, as Turkoman issues hark back to antiquity preserving own traditions; Armenian solutions combine Eastern and Western features, whereas Bulgarian and Serbian ones turn out to be closer counterparts to Byzantine models. Trebizond Empire restated the remote and manifold origins of this iconography, consolidated up to the fall of the last “Greek State”. This legacy was later never abandoned both in the East and in the West, although through different interpretations.
Congresses and Symposia by Andrea Torno Ginnasi
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Books by Andrea Torno Ginnasi
Articles in Journals by Andrea Torno Ginnasi
Art. in Congress Proceedings and Collected Volumes by Andrea Torno Ginnasi
Congresses and Symposia by Andrea Torno Ginnasi
The aim of this paper is investigating the evolution and the actual shape of this element in relation with its representations over the centuries, together with its function and identity role. Firstly, the value of the exotic part will be considered paying attention to Oriental cultures, namely to Sasanian Persia. Secondly, the steps moving from simple decorative meanings to political implications will be analysed in order to identify the toupha not just as a garment of the imperial wardrobe but as a fundamental insignia of "military kingship" and as a reflection of the Emperor status set in a ritualised space far from the battlefield.
The planimetric and functional standardisation of monastic architectural settings is an achievement of the Romanesque period, and of Cistercian complexes in particular. During the early Middle Ages, monastic settlements were shaped in a pragmatic manner through the progressive aggregation of spaces; pre-existencing structures and different levels of resources or skills often affected constructions. This approach led to a diversity of forms, sizes, site plans, and functions, though the latter also reflected differing liturgical customs.
The third issue of Fenestella will explore this architectural experimention, seeking to identify, and to contextualize, similarities, differences, and trends. We welcome submissions that address specific case studies as well as broader territorial frameworks.
We will also consider submissions on different topics to be published in the section Varia. Proposals should be uploaded to the Fenestella website.
Fenestella publishes scholarly papers on medieval art and architecture, between Late Antiquity and c. 1400, covering the Latin West, the Byzantine East and medieval Islam. The journal aims to consider medieval artefacts from within, as if seen through a fenestella confessionis, in order to throw light on iconography, function and liturgical practice and space.
Fenestella supports original research, favouring an inter- and trans-disciplinary approach arising from the horizon and methodology of art history. Papers on wide-ranging themes, critical reviews and studies of micro-topics are all welcome, as long as they contribute to debate at an international level.
Fenestella accepts papers in Italian, English, French, German and Spanish, with abstracts in English. Submissions that satisfy a preliminary review by the editorial staff are then peer-reviewed by anonymous reviewers. After copyediting each article is given a DOI number, to be immediately published and indexed. Articles published during a calendar year are collected in an annual issue.
Articles are freely accessible and shareable according to the license CC BY SA 4.0.
Fenestella supports basic research, favouring an inter- and trans-disciplinary approach arising from the horizon and methodology of art history. Papers on wide-ranging themes, critical reviews and studies of micro-topics are all welcome, as long as they contribute to debate at an international level.
Fenestella accepts submissions in Italian, English, French, German and Spanish, with abstracts in English.
Fenestella publishes scholarly papers on medieval art and architecture, between Late Antiquity and c. 1400, covering the Latin West, the Byzantine East and medieval Islam. The journal aims to consider medieval artefacts from within, as if seen through a fenestella confessionis, in order to throw light on iconography, function and liturgical practice and space.
Fenestella supports original research, favouring an inter- and trans-disciplinary approach arising from the horizon and methodology of art history. Papers on wide-ranging themes, critical reviews and studies of micro-topics are all welcome, as long as they contribute to debate at an international level.
Fenestella accepts papers in Italian, English, French, German and Spanish, with abstracts in English. Submissions that satisfy a preliminary review by the editorial staff are then peer-reviewed. After copyediting each article is given a DOI number, to be immediately published and indexed. Articles published during a calendar year are collected in an annual issue.
Each article is freely accessible and shareable according to the license CC BY SA 4.0.
Reinventing the Capital: The Ideological Use of Monumental Architecture in Palaiologan Constantinople (1261-1453)
Andrea Torno Ginnasi
Guardian of the Heaven, Guardian of the City: The Lost Mosaic of the Archangel Michael in St Sophia of Constantinople
Leslie Brubaker
Processions in Middle Byzantine Constantinople
Maria Vrij
Dropping the Base. Why does Follis Production Seem to Stop at Constantinople for 24 years Between 842 and 866?
Alessandro Taddei
Complying with Synesius’ Precepts: Imperial Building Activity at Constantinople Under Arcadius (395-408)
Fenestella publishes scholarly papers on medieval art and architecture, between Late Antiquity and c. 1400, covering the Latin West, the Byzantine East and medieval Islam. The journal aims to consider medieval artefacts from within, as if seen through a fenestella confessionis, in order to throw light on iconography, function and liturgical practice and space.
Fenestella accepts papers in Italian, English, French, German and Spanish, with abstracts in English. Fenestella provides all of the features required for indexing in the main databases (Scopus, WOS, ERIH PLUS, DOAJ, etc.).
There are no submission or publication fees. Each article is freely accessible and
shareable according to the Creative Commons Attribution CC BY 4.0.
I lavori affronteranno il tema delle sequenze narrative dell’Antico Testamento nei cicli di pittura monumentale del Medioevo occidentale, con uno sguardo sulle dinamiche dell’Oriente bizantino, da un’angolazione che privilegia l’approccio iconografico/iconologico, le relazioni con lo spazio liturgico e gli altri complementi figurativi, l’inquadramento storico-istituzionale.
La formula mista che affianca relatori su invito a quelli selezionati mediante Call for Papers ha consentito di predisporre alcune tematiche portanti e di intercettare la ricerca d’avanguardia europea. Indice dell’alto grado di internazionalità del convegno è la presenza di relatori provenienti dagli atenei di Parigi, Rennes, Poitiers, Barcelona, Heidelberg, Copenhagen e Mosca, oltre che di Roma, Bari, Padova e Milano (Unimi, Unicatt e Facoltà Teologica dell’Italia Settentrionale).
University of Milan, 16-18 October 2018
Call for Papers - Deadline 15 February 2018
The Chair of History of Medieval Art, Department of Cultural Heritage and Environment, University of Milan, organises an International Conference concerning the Old Testament narrative in medieval wall painting. Four thematic sessions are scheduled, calling for 20 minutes Papers to be presented in Italian/English/French.