Miejsce ekfrazy w bizantynistycznej historiografii artystycznej

A groundbreaking analysis reveals that Byzantine ekphrases, traditionally overlooked in art history, hold significant potential for understanding the development of iconographic and compositional programmes. The study demonstrates that Byzantine artists, particularly after the Iconoclastic Controversy (726-843), were capable of freely shaping their pictorial formulae to visually represent dogmatic content, often defying canonical norms. This is exemplified by reversed compositional schemes in scenes such as Christ's Entry into Jerusalem at Daphni and the Holy Myrrhbearers at Mileševa Monastery. The research also highlights an affinity between artistic and literary stances, suggesting that Byzantine writers faced similar challenges in expressing dogmatic content within the literary canon, as seen in Michael Psellos' ekphrasis of a Crucifixion image.

Smorąg Różycka, M. (2018). Miejsce ekfrazy w bizantynistycznej historiografii artystycznej. Vox Patrum, 70, 471–484. https://doi.org/10.31743/vp.3217