Female Representations in Byzantine Art of Kosova

Vlora Kosumi Ismaili

doi:doi:10.11648/j.ajad.20190404.11

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Female Representations in Byzantine Art of Kosova

Vlora Kosumi Ismaili

Received: 28 August 2019 Accepted: 7 October 2019 Published: 29 October 2019

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Abstract

The article addresses the issue of female appearance in the fresco painting from the Byzantine era on the territory of Kosova and aims at disclosure of the methodological approach towards construction of appropriate means for depiction of feminine attributes such are: facial expression, corporal energy, fashion, charm, elegance, grace and physical attractiveness. In that regard, the iconographic configuration of female representation in several churches from the 14^th century have been analyzed Shën Premte – Virgin Ljeviška in Prizren, Patrikana e Pejës -Patriarchate of Peja, the Church of the Annunciation in Graçanicë and the Deçan monastery where we encounter a great number of depicted female characters belonging to different categories (female saints – martyrs, female commissioners, images of Virgin Mary etc.) The main aim of the paper is to disclose the manners in which the characters were visualized according to their role in religious history, i.e. describe the iconographic methods applied to each category in order to discover the principles of aestheticism particularly designed for expression of femininity. In that regard, the spiritual tenderness of the images of Virgin Mary, the elegant sophistication of aristocratic female martyrs, the modest and calm beauty of the represented nuns, as well as the dignified portraits of the historic personalities represented as lady commissioners point to different means of iconographic and stylistic expression that were created to live different types of emotional impression by the beholders of the frescoes.

DOI	10.11648/j.ajad.20190404.11
Published in	American Journal of Art and Design (Volume 4, Issue 4, December 2019)
Page(s)	41-47
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Female Saints, Women Representation, Byzantine Art, Medieval Churches, Feminine Aesthetics

References

[1]	E. Dimitrova, “AnimaePulchrae: Depiction of Saintly Images in Byzantine Mural Painting”, in Perception of Beauty (ed. M. P. Levine), Rijeka 2017, pp. 34-35.
[2]	Particularly when historic characters are in question, cf. M. Cartwright, “Women in Byzantine Empire”, in Ancient History Encyclopedia, Oxford 2018.
[3]	E. Dimitrova, “Colourful Sparkles of Imaginary Vistas: Saintly Beauty in the Eyes of the Beholder”, in Zograf 37, Belgrade 2013, pp. 83-84.
[4]	E. Pilts, “Byzantine women’s visibility in the arts”, in: Proceedings of the 21^st International Congress of Byzantine Studies, vol. III, London 2006, p. 101-102.
[5]	E. Dimitrova, “Amazing Vistas: Depiction of Male/Female Beauty in Byzantine Fresco Painting”, in Proceedings of the 22^nd International Congress of Byzantine Studies, vol. III, Sofia 2011, p. 265.
[6]	J. Lafontaine-Dosogne, “Iconography of Mary, Blessed Virgin”, in New Catholic Encyclopedia, Farmington Hills 2003, pp. 77-82.
[7]	V. J. Đuriċ, Vizantijskefreske u Jugoslaviji, Beograd 1974, p. p. 37, Pl. XXIII.
[8]	V. J. Đuriċ, Vizantijskefreske u Jugoslaviji, Beograd 1974, p. 38.
[9]	B. Todiċ, Serbian Painting in the Age of King Milutin, Belgrade 1998, T. XXXIII.
[10]	D. Paniċ, G. Babiċ, BogorodicaLjeviška, Beograd 1988, p. 67.
[11]	B. V. Popoviċ, “Program živopisa u oltarskomprostoru”, in ZidnoslikarstvomanastiraDečana. Građa i studije, Beograd 1995, Figure 1a.
[12]	G. Babiċ, “Bogorodičin Akatist”, in Zidno slikarstvo manastiraDečana. Građa i studije, Beograd 1995, Figure 12.
[13]	D. Paniċ, G. Babiċ, BogorodicaLjeviška, pp. 57-58.
[14]	P. Miljkoviċ-Pepek, Deloto na zografiteMihajlo i Eutihie, Skopje 1967, pp. 228-230.
[15]	D. Paniċ, G. Babiċ, Bogorodica Ljeviška, T. XXVII.
[16]	H. Maguire, The Icons of Their Bodies. Saints and Their Images in Byzantium, Princeton 1996, p. 28.
[17]	E. Dimitrova, “Colourful Sparkles of Imaginary Vistas: Saintly Beauty in the Eyes of the Beholder”, p. 83.
[18]	B. Todiċ, Graċanica. Slikarstvo, Beograd – Priština 1988, Figure 90.
[19]	B. Todiċ, Graċanica. Slikarstvo, Beograd – Priština 1988, p. 130-130, T. XXVII.
[20]	M. Markoviċ, “Pojedinačne figure svetitelja u naosu i paraklisima”, in ZidnoslikarstvomanastiraDečana. Građa i studije, Beograd 1995, pp. 250-251.
[21]	On the depiction of donor characters, male and female, see: R. Franses, Donor Portraits in Byzantine Art, Cambridge 2018.
[22]	E. Dimitrova, “The Portal to Heaven. Reaching the Gates of Immortality”, in Niš & Byzantium Symposium. Collection of scientific works V, Niš 2007, pp. 367-380.
[23]	D. Vojvodiċ, “Portreti vladara, crkvenih dostojanstvenika i plemiċa u naosu i priprati”, in Zidno slikarstvo manastiraDečana. Građa i studije, Beograd 1995, Figure 15.
[24]	D. Vojvodiċ, “Portreti vladara, crkvenih dostojanstvenika i plemiċa u naosu i priprati”, in Zidno slikarstvo manastiraDečana. Građa i studije, Beograd 1995, Figure 20.
[25]	B. Todiċ, Gračanica, Slikarstvo, p. 130.
[26]	M. Markoviċ, “Under the First Rulers of the Nemanjiċ Dynasty (from 1168 to the Death of King Milutin) ”, inArtistic Heritage of Kosova and Metohija, Belgrade 2017, Figure 204.
[27]	B. Todiċ, Serbian Painting in the Age of King Milutin, T. XXVII.
[28]	D. Pavloviċ, “Queen Simonis”, in Serbian Artistic Heritage in Kosova and Metohija, Belgrade 2017, pp. 218-219.
[29]	B. Todiċ, StaroNagoričino, Beograd 1993, pp. 118-119; E. Dimitrova, “The Church of St. George at StaroNagoričino”, in Seven Medieval Churches in the Republic of Macedonia, 2014, Figure 11; E. Dimtrova, G. Velkov, Sedum srednovekovnicrkvivoRepublikaMakedonija, Skopje 2015, p 92.

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APA Style

Vlora Kosumi Ismaili. (2019). Female Representations in Byzantine Art of Kosova. American Journal of Art and Design, 4(4), 41-47. https://doi.org/10.11648/j.ajad.20190404.11

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ACS Style

Vlora Kosumi Ismaili. Female Representations in Byzantine Art of Kosova. Am. J. Art Des. 2019, 4(4), 41-47. doi: 10.11648/j.ajad.20190404.11

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AMA Style

Vlora Kosumi Ismaili. Female Representations in Byzantine Art of Kosova. Am J Art Des. 2019;4(4):41-47. doi: 10.11648/j.ajad.20190404.11

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@article{10.11648/j.ajad.20190404.11,
  author = {Vlora Kosumi Ismaili},
  title = {Female Representations in Byzantine Art of Kosova},
  journal = {American Journal of Art and Design},
  volume = {4},
  number = {4},
  pages = {41-47},
  doi = {10.11648/j.ajad.20190404.11},
  url = {https://doi.org/10.11648/j.ajad.20190404.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20190404.11},
  abstract = {The article addresses the issue of female appearance in the fresco painting from the Byzantine era on the territory of Kosova and aims at disclosure of the methodological approach towards construction of appropriate means for depiction of feminine attributes such are: facial expression, corporal energy, fashion, charm, elegance, grace and physical attractiveness. In that regard, the iconographic configuration of female representation in several churches from the 14th century have been analyzed Shën Premte – Virgin Ljeviška  in Prizren, Patrikana e Pejës -Patriarchate of Peja, the Church of the Annunciation in Graçanicë and the Deçan monastery where we encounter a great number of depicted female characters belonging to different categories (female saints – martyrs, female commissioners, images of Virgin Mary etc.) The main aim of the paper is to disclose the manners in which the characters were visualized according to their role in religious history, i.e. describe the iconographic methods applied to each category in order to discover the principles of aestheticism particularly designed for expression of femininity. In that regard, the spiritual tenderness of the images of Virgin Mary, the elegant sophistication of aristocratic female martyrs, the modest and calm beauty of the represented nuns, as well as the dignified portraits of the historic personalities represented as lady commissioners point to different means of iconographic and stylistic expression that were created to live different types of emotional impression by the beholders of the frescoes.},
 year = {2019}
}

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TY  - JOUR
T1  - Female Representations in Byzantine Art of Kosova
AU  - Vlora Kosumi Ismaili
Y1  - 2019/10/29
PY  - 2019
N1  - https://doi.org/10.11648/j.ajad.20190404.11
DO  - 10.11648/j.ajad.20190404.11
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 41
EP  - 47
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20190404.11
AB  - The article addresses the issue of female appearance in the fresco painting from the Byzantine era on the territory of Kosova and aims at disclosure of the methodological approach towards construction of appropriate means for depiction of feminine attributes such are: facial expression, corporal energy, fashion, charm, elegance, grace and physical attractiveness. In that regard, the iconographic configuration of female representation in several churches from the 14th century have been analyzed Shën Premte – Virgin Ljeviška  in Prizren, Patrikana e Pejës -Patriarchate of Peja, the Church of the Annunciation in Graçanicë and the Deçan monastery where we encounter a great number of depicted female characters belonging to different categories (female saints – martyrs, female commissioners, images of Virgin Mary etc.) The main aim of the paper is to disclose the manners in which the characters were visualized according to their role in religious history, i.e. describe the iconographic methods applied to each category in order to discover the principles of aestheticism particularly designed for expression of femininity. In that regard, the spiritual tenderness of the images of Virgin Mary, the elegant sophistication of aristocratic female martyrs, the modest and calm beauty of the represented nuns, as well as the dignified portraits of the historic personalities represented as lady commissioners point to different means of iconographic and stylistic expression that were created to live different types of emotional impression by the beholders of the frescoes.
VL  - 4
IS  - 4
ER  -

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Author Information

Vlora Kosumi Ismaili

Department of Fine Art, University of Pristina, Pristina, Kosova

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Plain Text BibTeX RIS

APA Style

Vlora Kosumi Ismaili. (2019). Female Representations in Byzantine Art of Kosova. American Journal of Art and Design, 4(4), 41-47. https://doi.org/10.11648/j.ajad.20190404.11

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ACS Style

Vlora Kosumi Ismaili. Female Representations in Byzantine Art of Kosova. Am. J. Art Des. 2019, 4(4), 41-47. doi: 10.11648/j.ajad.20190404.11

Copy | Download

AMA Style

Vlora Kosumi Ismaili. Female Representations in Byzantine Art of Kosova. Am J Art Des. 2019;4(4):41-47. doi: 10.11648/j.ajad.20190404.11

Copy | Download

@article{10.11648/j.ajad.20190404.11,
  author = {Vlora Kosumi Ismaili},
  title = {Female Representations in Byzantine Art of Kosova},
  journal = {American Journal of Art and Design},
  volume = {4},
  number = {4},
  pages = {41-47},
  doi = {10.11648/j.ajad.20190404.11},
  url = {https://doi.org/10.11648/j.ajad.20190404.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20190404.11},
  abstract = {The article addresses the issue of female appearance in the fresco painting from the Byzantine era on the territory of Kosova and aims at disclosure of the methodological approach towards construction of appropriate means for depiction of feminine attributes such are: facial expression, corporal energy, fashion, charm, elegance, grace and physical attractiveness. In that regard, the iconographic configuration of female representation in several churches from the 14th century have been analyzed Shën Premte – Virgin Ljeviška  in Prizren, Patrikana e Pejës -Patriarchate of Peja, the Church of the Annunciation in Graçanicë and the Deçan monastery where we encounter a great number of depicted female characters belonging to different categories (female saints – martyrs, female commissioners, images of Virgin Mary etc.) The main aim of the paper is to disclose the manners in which the characters were visualized according to their role in religious history, i.e. describe the iconographic methods applied to each category in order to discover the principles of aestheticism particularly designed for expression of femininity. In that regard, the spiritual tenderness of the images of Virgin Mary, the elegant sophistication of aristocratic female martyrs, the modest and calm beauty of the represented nuns, as well as the dignified portraits of the historic personalities represented as lady commissioners point to different means of iconographic and stylistic expression that were created to live different types of emotional impression by the beholders of the frescoes.},
 year = {2019}
}

Copy | Download

TY  - JOUR
T1  - Female Representations in Byzantine Art of Kosova
AU  - Vlora Kosumi Ismaili
Y1  - 2019/10/29
PY  - 2019
N1  - https://doi.org/10.11648/j.ajad.20190404.11
DO  - 10.11648/j.ajad.20190404.11
T2  - American Journal of Art and Design
JF  - American Journal of Art and Design
JO  - American Journal of Art and Design
SP  - 41
EP  - 47
PB  - Science Publishing Group
SN  - 2578-7802
UR  - https://doi.org/10.11648/j.ajad.20190404.11
AB  - The article addresses the issue of female appearance in the fresco painting from the Byzantine era on the territory of Kosova and aims at disclosure of the methodological approach towards construction of appropriate means for depiction of feminine attributes such are: facial expression, corporal energy, fashion, charm, elegance, grace and physical attractiveness. In that regard, the iconographic configuration of female representation in several churches from the 14th century have been analyzed Shën Premte – Virgin Ljeviška  in Prizren, Patrikana e Pejës -Patriarchate of Peja, the Church of the Annunciation in Graçanicë and the Deçan monastery where we encounter a great number of depicted female characters belonging to different categories (female saints – martyrs, female commissioners, images of Virgin Mary etc.) The main aim of the paper is to disclose the manners in which the characters were visualized according to their role in religious history, i.e. describe the iconographic methods applied to each category in order to discover the principles of aestheticism particularly designed for expression of femininity. In that regard, the spiritual tenderness of the images of Virgin Mary, the elegant sophistication of aristocratic female martyrs, the modest and calm beauty of the represented nuns, as well as the dignified portraits of the historic personalities represented as lady commissioners point to different means of iconographic and stylistic expression that were created to live different types of emotional impression by the beholders of the frescoes.
VL  - 4
IS  - 4
ER  -

Copy | Download