Treasury Icons Sixth Seventeenth Centuries Sinai Pen Greece Bulgaria Yugoslavia

Description: No dust jacket. Cover with wear and damage as shown in pictures. Slight start of inner-hinge crack at back cover. Front flyleaf with price in pencil. Pages with some handling and foxing. Color plates are tipped in. All the content is there. See pictures for a better idea of content and condition. OCR scan of part of the book: A TREASURY OF ICONS CENTURIES SIXTH TO SEVENTEENTH Kurt Weitzmann Manolis Chatzidakis Krsto Miatev and Svetozar Radojčič FROM THE SINAI PENINSULA. GREECE, BULGARIA, AND YUGOSLAVIA HARRY N. ABRAMS, INC., NEW YORK ORIGINAL TITLE: IKONE SA BALKANATRANSLATED BY ROBERT ERICH WOLFLIBRARY OF CONGRESS CATALOG CARD NUMBER: 67-12687COPYRIGHT 1966 IN YUGOSLAVIA BY "JUGOSLAVIJA," BELGRADE,"BLGARSKI HUDOŽNIK," SOFIAALL RIGHTS RESERVED. NO PART OF THE CONTENTS OF THIS BOOK MAY BEREPRODUCED WITHOUT THE WRITTEN PERMISSION OF THE PUBLISHERS,HARRY N. ABRAMS, INCORPORATED, NEW YORKPRINTED AND BOUND IN YUGOSLAVIA Introductory Note Part I. Sinai Peninsula: Icon Painting from the Sixth to the TwelfthCentury by Kurt WeitzmannPlates 1-36 Part II. Greece: Icon Painting from the Twelfth to the Sixteenth Centuryby Manolis ChatzidakisPlates 37-96 Part III. Bulgaria: Icon Painting from the Ninth to the Seventeenth Centuryby Krsto MiatevPlates 97-156 Part IV. Yugoslavia: Icon Painting from the Thirteenth to the SeventeenthCentury by Svetozar RadojčićPlates 157-220 Catalogue of Illustrated Icons Bibliography of Illustrated Icons Biographical Notes on the Authors INTRODUCTORY NOTE The icons reproduced in this book are published together for the first time, and have beenselected from the collections of churches and museums in three Balkan countries: Greece,Bulgaria, and Yugoslavia. They represent the great wealth of icon painting that the Balkanshave created and preserved through the centuries. To this material have been added theearly icons found in the Monastery of Saint Catherine on the Sinai peninsula and photo-graphed during the Alexandria-Michigan-Princeton archaeological expeditions. But no at-tempt has been made to present these icons in terms of the national origins of their artists,for this cannot be determined with certainty in many cases. Icons have been transplantedfrom one country to another throughout their long history. Furthermore, the masters whopainted for a particular court or dignitary were often themselves from abroad. Patrons andforeign rulers also endowed churches and monasteries with icons as votive offerings, or asdonations for special occasions. Particularly coveted as spoils of war, icons were constantlytransported from one country to another. Even when they remained in the region of theirorigin, subsequent political changes affected the boundaries of most of the nations to whichthe anonymous artists had belonged. Thus, the icons found within the present frontiers ofthe Balkan countries cannot be ascribed to any one country in particular, and an attemptto study icons according to their national origins would inevitably meet so many difficultiesthat the finest examples of Balkan art would often have to be omitted. That is why thisbook is organized according to the present-day frontiers of the countries in which the iconsare found, rather than according to the countries within which the icons were made.This plan makes it possible to complete the diversified panorama of the wealth of iconsthat have survived in these countries. It also helps us to trace the two parallel develop-ments of the icon, as a religious object and as a cultural phenomenon. Only thus can oneget a rounded presentation of the iconography - the pictorial symbols and conventions ofthese works - which for so many centuries fulfilled the religious and aesthetic needs of theOrthodox peoples of the eastern Mediterranean basin. Exceptions to this plan of regionalorganization have been made in the chapter on Greece, in order that certain icons now inIstanbul, Jerusalem, Cyprus, and southern Italy might be included; the chapter on Yugoslaviaalso discusses icons that are now in Ravenna and in the Monastery of Chilandar on MountAthos.Four world-famous specialists here set forth their views and support them convincingly.All future investigations in this field will inevitably owe much to these contributions to theunderstanding of the art of the icon.

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