Art

This session aims to initiate novel understanding of typology within a field of Byzantine art and architectural history. We will reassess current approaches to type and archetype by contextualizing this issue within the scope of available primary sources and new archaeological evidence. The typological approach in Byzantine studies stems from taxonomic classification of formal features of Byzantine art and architecture. By looking at " typical " visual elements we discuss various types of icons (either by looking at their content, formal characteristics, inscriptions, placement, or historical styles). Similarly, by examining " typical " floor plans, construction techniques, stylistic features, or functions of the buildings we study, we establish various architectural types. However, the theoretical discussions of type and typology remain wrapped in inconsistent terminology and meaning. Should we abandon typological studies and, if so, what would be an alternative? Or, should we revise current typological approaches and how? Byzantine theologians and philosophers (e.g. Dionysius the Areopagite) discussed the type (τύπος; model, pattern), and archetype (ἀρχέτυπον; the original type from which the physical replicas are made) extensively. Within the Byzantine cultural construct, the type and archetype provide a sophisticated tool for understanding both idea (εἶδος, ἰδέα) and form (εἰκών, σχῆµα, µόρφωσις) in art and architecture on multiple levels. However, even if related, the two notions are often different and even opposing, though not necessarily mutually exclusive. What we find is that the Byzantines themselves permit a more nuanced approach to their artistic and architectural expression. By focusing on selected examples of art and architecture from the medieval Balkans, we will start from objects themselves and go back to their ultimate archetypes. The notion of type and archetype will be related to objects of various physical scales, from recognizable visual elements in icons, architectural features of individual buildings (chapels, churches, palaces), to cities and built and natural environments. By juxtaposing well-known with new material about icons, icons painted on rocks, churches and adjacent chapels, palaces in late antiquity and Byzantium, and the capital cities of medieval Balkan states, the round table aims to initiate debate on various methodological approaches that include typology within Byzantine architecture, art, and archeology. A particular emphasis will be placed on human scale and non-verbal communicative features employed in conceptual and actual design of studied examples. Ultimately, enriched by theoretical framework that stems from within Byzantine culture itself, this project would contribute to the research in the broader field of Byzantine studies.
Jelena Bogdanović and Marina Mihaljević, conveners