Pentcheva, Performative Icon

The Performative Icon Author(s): Bissera V. Pentcheva Source: The Art Bulletin, Vol. 88, No. 4 (Dec., 2006), pp.631-655 Published by: College Art Association Stable URL: http://www.jstor.org/stable/25067280 . Accessed: 07/03/2011 11:36 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=caa. . 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Pentcheva Icon Icon (ikon, eiKcov) and in Greek is understood as image, also repre enameled cover, which floods the eye with its radiance and sentation, a very portrait. meaning specific In Byzantium as a portable the word portrait acquired of Christ, the Virgin, or steatite and saints with scenes from their lives on wood panels surfaces (Figs. 1-4).* such The as icon enamel, ivory, metal, was perceived mosaic, as matter and im illuminated by the trembling flicker of can shimmer. When dles and oil lamps rather than the steady and harsh spotlights on the revetted of museum displays, the painted holy face icon sinks and disappears in the shadow. These panels oper precious bued with object taste, the was and portable charis (^api?), meant sound to be all or divine grace.2 As matter, this physically contributed Over the portrait. smell, Touch, experienced. to the of "seeing" experience sensual this sensory and years, ate at the brink of the extramission and intromission models of visuality. They deny the tangibility and even visibility of the sacred image, while they appeal to the sense of touch through the metal textured surface of their repouss? and enameled-filigree con revetments.7 they are luxury objects, relief icons are now experience the (aesthesis) of the image has been in fact and vision a surface smell. meant that This in resonates object Byzantium: lost from view in with thus a offers sound, us a Because scholarship.3 is icon The light, into sidered exceptions icon enamel, production. steatite, among an otherwise However, and ivory the integrate way the largely panel-painted relief icons in metal, theory of iconophile wind, glimpse touch, what synesthetic experience refers through enced together, tion on synesthetic as the whole body is engaged. The term as employed in modern art theory and psychology synesthesia in which to concomitant the sound. stimulation Instead, sensation: of the another, use experience such the word as of color synesthesis to focus of senses. one sense experi (syn-, atten This Yet the faithful images and the way they sensorially engage that these ob their tactile representations suggest through lead us instead to a jects, rather than being exceptions, fundamental expectation and experience of icons as textured I will sensual aesthesis, plus consonant sensation: experience senses is very apprehension) the simultaneity characteristic surfaces in Byzantium. The relief icon, which dominated in the ninth and tenth centuries, most artistic production fulfilled the qualities of Byzantine tactile and sensorial closely visuality. of Byzantium. it is rarely discussed between the and in medieval the spiritual studies. Whenever is made, it is often a link drawn its In its original through setting, the icon performed The radiance of light reflected from the gilded materiality. surfaces, the flicker of candles and oil lamps placed before the and the image, music?these and sweetly fragrant inundated sensorial to excess, of incense, all senses. the the sounds In of prayer the icon access saturating of the and gave primarily on the basis of the writings of Abbot Suger.4 to Byzantine image theory as it emerged in the According ninth century, the icon is the imprint (in Greek, typos) of Christ's visible characteristics (appearance) on matter. The material led experience to a transcendence this very materiality quintessential Byzantine image ideally should not be thought of as a painting created by brushstrokes but as an imprint? a typos impressed on a material surface. The relief icon to this theoretical model; most closely conformed it defined Byzantium as the culture of the imprint, mold, or seal to the intangible, invisible, and noetic.8 This phenomenolog inmodern ical aspect of the icon has been largely overlooked it to a glass-cage it as art, confining scholarship. By treating museum display, subjecting it to uniform and steady electric lighting, dead.9 the icon has been deprived of life?its surface, (Figs. 1-3). The relief icon also best responds of vision known as extramission.5 to the prevailing to this model, theory the According In Byzantine of definition presence admixture. and culture, "performance." absence.10 itself mimesis is the word for an closest admixture just the to the of an It stands The icon is active, constantly moving and sending eye of the beholder that touch the surfaces of objects. The eye seeks the light rays and expe tactility of textures and reliefs. Sight is understood rienced as touch.6 Not surprisingly, Byzantine icons address exemplifies (appearance), such Byzan While an absence this tactile desire with and reliefs. They pouss?, and filigree, gemstones. their rich decoration, varied materials, employ a baroque pastiche of metal re and of these champlev? panels also enamels, contain pearls, poetic cloisonn? Some in the metal surface (Fig. 21). inscriptions embedded of wood panel The later and better-known production covered with metal revetments (Fig. 4) differ sig paintings from the Middle Byzantine relief icon. In the latter, nificantly the holy figure projects in relief, whereas in the former, the sacred form recedes in darkness. It is painted on the flat surface of the wood and surrounded by a raised silver-gilt or tine icon enacts divine presence (essence) in itsmaking and in its interaction with the faithful.11 A person's approach, and breath disrupt the lights of the candles and movement, oil lamps, making them flicker and oscillate on the surface of the icon, This glimmer of reflected rays is enhanced by the rising incense in the air, the sense of touch and taste, and the sound of prayer to animate the panel.12 The icon thus goes changing, and performing through a process of becoming, before These the faithful, shifting sensations triggered through sight, touch, sound, smell, and taste stir the faithful. They are then led to state and sensual experi project their whirling psychological ence (pathema, Tr?diq/xa) back onto the object to make the 13 icon has Because a tension mance faithful. provided by Art Resource. an almost Eucharistie participatory knowledge of Christ's of icons divinely human presents an nature? The model. Marco. eighth-century Its major defense essentialist proponents Byzantine Mimesis: Essence and Appearance The Byzantine icon is a surface that has received the imprint of divine form. late 10th century. smell and taste give access to divine essence image theory emerged during the Iconoclastic Byzantine period. the Archangel Michael. it turns projected an empsychos human graphe clastic period. basilica 17% X 14V6 X 3/4 in. At imprint of the divine appearance the same time. Charles Barber has al phoros and Theodore their theory in his excellent study Figure ready reconstructed and Likeness:. The Incar nation manifests validity to the the divine acquiring visible and representation.On the Limits of Representation in Byzantine Icono clasm.5 cm). 675-749) nos (ca.532 ART BULLETIN VOLUME LXXXVIII NUMBER 4 1 Icon of gold.14 What remains to be explored is how this nonessen were John of Damaskos and Patriarch Germa (ca. At the very center of this controversy lay the tension between matter and spirit. . into Animated a living by painting: the 7r?0T)/xa. but it simulates divine essence through the interaction of its imprinted sur face with the changing ambience. lurks heightened on the icon's that will the materiality surface be resolved between of in the this object.16 The book. the icon shows the process visible The human original shape. liturgy the senses. 6). The icon is just an imprint of form. sensu main the analysis. and tialist model affected the icon production of the post-Icono divine. its late tained of mimesis antique tradition saturating objects embedded While in its rite gave rise all five senses are to a sensorially engaged. (22 X 18. late llth-12th century. (Figs. Byzantine mimesis is the imitation of pres ence. NY) photograph by Cameraphoto. and sound emerge as the senses through which the materiality of the icon as the is empirically formed. Can the icon represent through God. imitation of form. Treasury of the of S. A absence icon's and perfor (e/xi/fu^o? ypa</>ff). 634-732).15 Using Christology. a rich subtle performance. hierarchy is established. a human By form. Treasury of the basilica S. Marco. A emerges The from Byzantine my new meaning legacy the Eastern of a of of tactile Orthodox "living painting" visuality. touch. (mimesis) : the way it plays with appearances In contrast to our Western notion before as the the ally experienced. NY) icon appear alive. lending extension. provided by Art Resource. 5. Venice (artwork in the public domain. This nonessentialist of the icon definition in the ninth-century writings of Patriarch Nike developed of Stoudios. Venice (artwork in the public domain. the Archangel Michael. they drew a connec tion between the icon and the incarnate Christ. 85/s X 7V4 in. photograph by Cameraphoto. dove. 730 to 843. The definition of the icon as absence has paradoxically tension presence. through which mosaics the Logos acquires at Nikaia offer a an seventh-century example pr?figurai of this incarnational represented by dialectic the throne. enamel on 2 Icon of of enamel on gold. (44 X 36 X 2 cm). Sight. photograph by Erich Lessing. Iznik.17 carnal the central They the light: catch ray of and light. provided by Art ?ir>#?^*Z&1*xz?. of icon of the processional Virgin Hodegetria. triptych. Petersburg) Museum. State early 8th century.THE PERFORMATIVE ICON 533 3 Harbaville (24. most reflect Child light in likely made as Mary's they lead arms. photograph Archive. appearance/likeness and its shape all empha jmop</>Tj.18 of such intervention.19 Patriarch Nikephoros de (ca. ? The (Nikaia) (artwork in the public domain. early the iconophiles ninth centuries of the later part of the eighth a nonessentialist interpreta and developed i ftl 3rd J. NY) X WA late 10th century. in. 750-828) fined the icon as the imprint (typos) of the visible character istics matter: of Christ "Painting on matter. Ohrid. the Virgin is transformed in the apse. 5 Mosaic Church of of the Hetoimasia. the Koimesis of late 7th or the Theotokos. public Resource. Macedonia Scala. With the shape the of and Child the cross in the apse was replaced by the in image the of mid-eighth veneration cen in 843. Hermitage inscription. or the appearance corporeal represents imprinted form of the on one 4 Double-sided quarter revetment. impressing its appearance (morphe) and its likeness (empheria). on the empheria sense of (oxrj/xa. the body of Christ. (artwork by Art (schema) and depicted. Turkey provided Schmit by the Theodore St. Icon Gallery. Mus?e (artwork public domain. 38V? X 26% in.'"20 Schema. We into the Child held witness a metamorphosis in the arms of by us By fol lowing tesserae. image of the Virgin aniconic tury. converge morphe. e^?peta) provided . Paris in the cm). the 13th century.2 X 28. (97 X 67 cm). on wood. NY) photograph ? tion of the icon. of silver to the golden-clad equat ing the icon with in the charges shows divine of traces essence. sometime reestablishment was charges of figurai representation counteract To the restored. silver-metal tempera in the domain.5 Resource. ivory. idolatry in the incarnational model. making this The an essentialist figurai iconoclastic model representation it participatory exposed itself at Nikaia for the to idolatry. 9V? du Louvre. lead. looks images from gold at the prototype.1) 6 Apse mid-9th mosaic century. and Iznik. the stone carver. through This object appearance. conceptual comes set to the imprint of absence simulate presence on matter. as Because these of divine These thaumaturgie presence. This miraculous model production of the icon becomes a process of double icon does not the nonessentialist images. receives the miracle-working mactic points fully imprint of that which he contemplates. available and from originates to men the from of letters looking at the model is understood as a primary imprint. public written in 927. only at swift The cli and each the one who makes takes matter. St. of the theory in any other but not account theoretical over culture. ? The State Hermitage Museum. of the Virgin of Church and Child. no. through which to defend the validity of icons.4 Mount Treasures Greece Athos. At the same time. In the has been next step. a seal into his matter.21 and presses it like Typos and Sphragis The nonessentialist model only act of the icon as a double the very in of image production imprint. from domain. 13. The in of believe. Athos. (19. the Koimesis late of 7thearly 8th the Theotokos. 508. and (literally impressed surface (bronze like a die) for a second or gold. ofMount in the (object cat. silk veils. the form. Turkey (Nikaia) (artwork in the public domain. 7% X 6% in. exercised and As some ritual appearance participates in Christ's cred teristics energy and and therefore essence). not the icon is likeness the essence.8 X 17. nition images functioned access and away of were the icon perceived in a way sacred by sensual energy. Petersburg) appearance memory of of the prototype the artist. longer not copy essence. photograph provided by the Theodore Schmit Archive. and bronze. impressed this impressed or onto form the is imprinted the material size The imprint the two nonessentialist are of connected relation by no between form. judge of Monastery. In the does not reveal his hypostasis only the visible the charac icon be essence. is thus (essence) A similar definition of the icon as an imprint of likeness on matter emerges in the writings of Theodore of Stoudios (759-826): after its prototype brings the The crafted icon modeled likeness of the prototype into matter and participates in its form by means of the thought of the artist and the impress of his hands. icon as sa The The making (typos). prototype. icons they offered repositories to relics. of the that participates prototype. as absence. This is true of the painter.534 ART BULLETIN VOLUME LXXXVIII NUMBER 4 7 Seal attached Iviron to the memorandum of a Thessaloniki cm). a belief in miraculous icons did exist in and this belief went against the theoretical defi Byzantium. The stronghold ninth-century the extramission Constantinople in Byzan theory .22 were and tangibly revealed available. grasp. practices I In this passage. similar to covered from enclosed in containers Habitually were the miraculous images kept to the in contrast icon. total It gave control a artistic line (divinely human lacking bearing miraculous practices. regular which was always fully visually of images the ritual. marble time on imprint for encaustic). in the public Oaks. penetrating transformed The icon then the physical into becomes longer remains. It has been explored most prominently by Herbert Kessler in connection with the acheiropoietos of Christ (miraculous image not made by human hands. the public Dumbarton domain. a<j>payU) furnish The not die just and a its imprint for (eKTweojULa. provided Washington. Arthur Sackler Museum. hand. 945-59). affixed with a cord at the edge of It completes the writing and ensures the the parchment. lead. this process.C.31. Washington. visuality. 10. a-. in a memo Yet the typos/sphragis concept regular icon.THE PERFORMATIVE ICON 535 8 Seal blank. maps essence. This shell is intaglio on the heads of the pliers absence that is then imprinted on reifying in relief the shape of ab absence turns into a projection. by Dumbarton D. Christ's material form. (r. the pliers embedded in the lead and closed the parchment. Dumbarton Oaks.5 cm). imprint and participates Again. the acheiropoietos partici the which a seal. provided by Dumbarton Washington. diameter 1 in. 10.) Oaks. a The sacred leaves body physical imprint. Collection.C. 6% X 6V6 in.8 cm). the divine touch. bishop of Thebes. in Oaks. It is created like a coin or seal. The graphe (encompassing as a seal (sphragis. sence (Figs. inviolate state of the letter (Fig.24The characteristic Byz antine sealing practice was to use lead blanks with a channel going through their diameter (Fig. The silk cords were first threaded the parchment and then strung through the lead through the seal's channel. 11).11).C. diameter D.). By completed analogy. the form sensory of absence. manifesta no the materialization a reified. (1. 7) . Mass. After being heated. While relief the silk cord creating the metal relief. .23 instance. Byzantine Collection. with once For their writing was con pates in like an intaglio impressed on the body functions surface (Figs.5 cm). Here. Harvard University Art Museums.9 cm). is space. Writing and sealing thus became linked in Byzantium. (object by Dumbarton % in. poietos. were cluded. The relief paradoxically of sensual. space. the to the icon is randum by a judge of Thessaloniki written in 927. with the Virgin Episkepsis. manifestation for it. The typos/sphragis concept is not new. a of graphe also became sphragis. (2. 9). placing negative in which a body once resided but equivalent to the negative (Fig. the seal the icon as a created appearance through a double of the prototype.C. 11th century. 11). a shell a it produces matter.C. (object in the public domain. In contrast to has never been applied the acheiropoietoi. (17. Cambridge) (typos) of the Holy Face on a material surface. without. impressing a on the softened surface of the lead (Figs. blanks were placed between the valves of iron pliers (Fig. 9). photograph Washington. D. made): the imprint 1951. The pliers were struck shut with a hammer. D. Byzantine Washington. Byzantine 9 Pliers with intaglio relief of a saint. 10 Seal of Peter. the making only in the of a seal or a coin exemplifies twos.) images of Christ and Emperor diameter gold. writing and painting) was understood ar<f>payi<.4 X 15.C.) 11 Coin with the impressed Constantine Dumbarton domain. metaphor the relation between Christ and the icon but also a process By lacking dis that entirely the concept of the icon as absence. photograph Collection. Washington.6 (object in the bequest of Thomas Whittemore. (2. Cambridge. tine Many secured documents. provided D.. IVs (object in. 10. 8). VII Oaks. heir.25 This thauma turgie object is allegedly the product of a single imprint of the divine form and essence. D. photograph provided by the Arthur Sackler Museum. photograph Oaks. iron. It is this form of the warm metal surface. As an extension of the divine bears essence. public domain. the seal is still in its original position. of Byzantine after the image and seal centuries. a reference Chalkites^ to the it have been refers Brazen Gates a metal and over Neoplatonic a material manifestation to copper what is a eye is immaterial priori internal. imprinted ure. As the gate to the Great Palace. Already in his discussion of the sixth-century decoration of . absence. to It self-consciously apprehensible draws attention the to absence. Paradoxically. have argued Scholars. and ineffable Its external (divine essence). notably. It and understanding also of the icon through tangible versus the the the seal-making versus intangible In invisible. the Apostles. and So steatite far. theory sources describing the Chalke incident of 730. it immune ance. In of this hypothesis one of the two can be found earliest Byzantine in tradition. Perhaps paintings. in medieval attempt intangible in general express than the the Byzantine of the paradox particular versus the rather the invisible (in which my analysis differs from that of the existing scholarship on medieval image theory) . It is this materiality overlooked in the recent studies of Byzantine image theory. the prophets. of the craftsman.28 eloquent According extramission. of such an icon for the first Moreover. shifts would ultraviolet all wreak havoc light. he contemplates. and this act of public aggression against images signaled the outbreak of Iconoclasm in the capital. would in the eyes of iconoclasts have justified the icon's destruction biblical Golden as an orthodox act of pulling down the idols. senses. gates:40 The passage mentions the icon and its location produced Iconoclasm. vestige it is subse of internal. They the saint. image The internal The manifestation which metal? that sent its surface reaffirms "touching" Touch authenticates prototype. fire would have been the its burning only and perhaps best way to destroy it. touch) is thus This first image Like (the imprinted intaglio. would have had a strong symbolic value by alluding to the Calf (Exod. after in Hagia in metal repouss? adorned the epistyle of The model absence.26 As the chancel barrier through tioned metal-repouss? angels. The impressed Byzantine terms. of Stoudios: receives the "[the artist] imprint of matter. Sophia. of tactile us a similar project the Byzantine visuality theory its the rays sensually of vision seeks a and framework icon presents onto an visible versus of luxury relief icons in both Hagia Sophia and the churches and chapels of the Great Palace. by the hands of the artist into a material sacred portrait It presents can be seen to function policy. it casts source some in the written doubt was on the existence Auz?py in order to of a Chalke Christ Eirene's in about 730. form tangible Marie-France developed has correctly justify argued that the legend placement Empress eyes. same materiality lips. it like a seal into his active eye the into of the artist form sacred of an touch shape impressing gathered a the memory set up in 843. is the reality internal of the this The icon. which the icon and makes the imprint neutralizes access to appear of idolatry. the most profound the icon as reified Its absence lack of is imbued essence with materiality. 32:20). model an insight at into the the In core art this of icons in the ninth interpretation. It charges provides is realized and sensually materially experienced. example to the the "touched the preferred eye casting with desire experienced. the Life of Saint Stephen the Younger (written about 809). having received the imprint (typos) of absence. that can be tical that makes By contrast. the shape. to emulate Leo III."29 is present in the passage takes quoted from Theodore at the prototype.32 Similarly. sacred its an on places emphasis than on the visible rather relief. icon. iconoclast legendary a new Finally.35 Since this story is not and mentioned appears by any contemporary record only eighth-century after 800.31 By contrast. humidity. tangi sated by the materially manifested of the icon that is ble. In the rays making over the the and presses icon. medieval art. the imprint. in Byzantium.27 The tangible appeals to and mobilizes all five senses. was allegedly taken down on the orders of Emperor Leo III in 730. the period numbers attributed a different the ninth enamel. to deterioration.536 ART BULLETIN VOLUME LXXXVIII NUMBER 4 tion making present of absence. In fact.Moreover. and sensual. indeed. negative the Chalke imperial in of visually and tangibly defined this same and propagated image that reap quently surface. is compen the exterior temperature on wood. the Chalkites validity or truth of the image is itsmatter. with egg and tempera likeness: palpable. It is our modern culture's obsession with making things visible. its surface. all of these if we issues identify are the Chalkites A bronze as a metal or copper relief icon resolved. The most important icon in this period was the Chalkites Christ set atop the Brazen Gates of the imperial palace. Cyril Mango was a painted panel panel because painting the is not iconoclasts suited for it to the fire.38 icon?a but typos} is this Its name. 787-814. fueled by op visuality."30 casts and optical return. Paul the Silentiary men disks with the figures of Christ. offers it in turn to the touch of the "eyes and lips" of the faithful. The Relief For relief greater has been icons Icon from than (a typos) would have easily been burned in accordance with the incident of 730 or 814. Its It story summarizes the entire Iconoclastic period (730-843). legitimacy.33Enamel medallion Church) icons of Christ appeared in the Chapel of the Savior in the palace. It was probably peared on imperial coinage in 843. Then in 814 Emperor Leo V removed this image from the again gates in an attempt predecessor.36 it acquired endary past for the Chalkites. and the Virgin. tenth and-coin-based furnishes theory. this centuries. 867-86) .37 What did this icon look like? Could relief bronze. it hung or to the fact that the image itself was made of in 1959. it tangible. panel to wood's vulnerability which interpretation. The Chalke Christ marked the final triumph of orthodoxy and celebrated the renewed alignment of imperial power with image veneration. for hands. icons tangible icon materializes (the New imperial of Emperor Basil I (r. the icon appears as a copper relief at the image. the actions Chalkites of his was time during the iconophile the invention of a leg Through that which matter. and the function is in order. survive imbalance in in metal. of a building. Burning. looks interim period. to the eleventh ivory. takes into account Further the written confirmation record.34 These instances demonstrate a continuing tradition foundation called Nea Ekklesia absent objects to fig gives it Therefore.39 However. icons Iconoclasm. while the visible addresses itself just to the eye. the The Now [empress] emperor decorated Eirene Leo with [III]. coins Moscow. down. 11). the Byzantine Chalkites relief of Christ on a metal surface. the around Savior him.45 Yet the Byzantine choice of words is quite clear. its form would It symbolized have been pro Therefore. its first definition of The an intaglio same word on a metal also surface in appears is connected in order th? descrip separated by natures. The passage narrates the events of 602 CE. 129) have Psalter a round (State Historical shape that Museum. A reci procity is established between the emperor and his represen The word used passage is charakter to describe (xotpoLKTr\p). ring The to the relative locale. immediately attempted down and throw into the fire the authoritative icon of Christ our Lord. thereby linking image and text visually. Such a commemorative image would be quite appro the epigram written by Patriarch Methodios Similarly. A voice from the relief spoke. interpret. Finally.47 What is the importance of identifying the Chalkites with a metal relief icon? This was the most prominent icon in Con stantinople image sources policy. 10.] having become to take the leader of heresies. the Chalke Christ also to its nonessen fulfilled Byzantine image theory. and. In fact. so.42 Byzantine metal relief icon. Underneath in imperial attire sits on a throne with through of This his lyre. the Given tympanum of an imaginary polemical arch recall depiction the of the manuscript's shape current of Christ or the saints.49 in the mid-ninth Similarly. King David dressed and strums the strings of joined protector protection. face was rendered while holy on matter. it is likely that the preface miniature of the Khludov Psalter is not just a an author portrait (King David as the poet of visualization of the Psalms) but is possibly meant to configure in two-dimen sional form a memory image of the Chalke gate and Chalke Christ. in the model feminine While gender. The roundel icon evokes in its shape the very arguments used to defend its legitimacy. Divine and imperial are the seal of the icon. it [the icon] is called the Chalke (the Copper One). we the topography of Constantinople. (a compilation sources edited about 995). the Greek a switch for gate the (pyle. begins act his most lating prominent public this of the miniature reading preface with of a miniature image as a veneration. The rest of the passage states how this icon was decorated with mosaics by Empress Eirene. The Chalkites Christ established the in 843. vision of emu If the . The an ideal devotional medallion object panel thus becomes protected by form and theory from charges of idolatry. Michael Glykas in the twelfth cen tury reinforces the idea of the Chalkites as a metal relief icon by calling it an imprint (ekt?tt?uiio) . 7r6kr?) is in the feminine to singular and the subsequent from plural of this object as holy suggest that the subject of description the relative clause is not the Brazen Gates but the Chalkites icon. surface. at the place. Just as the Greek word stele presents figures in low icon displays a bas relief."44 icon is called a copper relief slab (stele chalke."43 a copper icon of our Lord and relief of various icon for the on representations tialist definition Hence. Theophanes the story by ahistorically inserting the Chalkites embellished icon?the very object that was most likely first placed ?t the gates almost two centuries later. and seals evokes (Fig. icon took it by mosaics. when Emperor Maurice dreamed of his judg (r. father of this Kavallinos. If my is correct. yet the rest of the sentence has a during and after Iconoclasm. imperial policy had just firmly em braced icon veneration. too. the metal It means object an in the quoted imprint. of images. images do not resemble what we consider look for an the icon: shape of a employing in the Khludov of the form icon as rectangular coins and the wood seals. the Chalke he was gates before standing was ? crowd and the icon standing divinely human hypostasis. where due to its relief character.THE PERFORMATIVE ICON 537 In these days [the patriarch Anastasios. tation on the gold identity to reigns identity yet between but solidus (Fig. The priate for the particular patron of the manuscript: most likely Patriarch Methodios."46 This poetic inscription most Chalkites icon. a depiction of a youthful the tympa (Fig.41 The which as a relief.51 His epigram adorned the Chalkites. read the following: "In the so-called Chalke Gates a copper stele of our Lord Jesus Christ was erected by Constan tine the Great. subject the to clause is rather difficult syntax of the dependent It is introduced by a relative pronoun (kv oicnrep). incised Both draw attention the to as epigram the textured letters and imprinted surface. In Byzantine iconophile writings the legitimacy of the icon is frequently argued on the basis of the imperial coin. gr. refers to the gates. 11). sometime between 843 and 847 identifies the orthodox im [Christ] with imprints [ty ages as typoi: "I am representing the likely surrounded poi].50 These to be panel the canonical In painting. hanging above the imperial gates. According a representation in relief: tialist definition. which could be interpreted as a metal icon adorned with glass tesserae or even enamel. the Savior he at saw a vision. the majority of icons depicted century Khludov cod. is restored The manuscript begins Christ set within an arch num. 12). nonessen on matter. and the only other word in the main clause is "icon" (eiKC?v). the Chalkites interpretation served as of the written for the in the feminine singular singular. the Psalter imprint th? activate of absence came and Christ Jesus sources Later also indicate In the Patria circular validates veneration Chalkites.48 the icon and Christ. 582-602) ment by Christ. It is quite possible that the Chalkites was medallion-shaped. King David emerges as a and idea vice captures versa: the as a recipient of of the icon's climate ninth-century images the Athenian. political events and its avid defense of irhages. his Psalter by extension. ottj?tj XakKrf). 12). These words have hitherto been interpreted as a The bronze Byzantium statue did and discredited not produce as corrupt information because statues of three-dimensional where Constantinople. Both The Both are linked by one same represent substance reciprocity the same versus a and engraved to the produce stamping a coin. As a typos. the ideal icon is an imprint (typos) left by an intaglio (Figs. The icon became the medium through which Christ appeared and judged the emperor: "One night as [Emperor Maurice] was of sleeping. in the period 787-814. seal of affirmation The medallion icon and its setting in the Khludov Psalter within a gate. pronoun where the can icon then be translated as refer is set. differ in nature: a material in Theophanes' tion of the Chalkites Chronographia (early ninth century). under stood as the ideal icon. which resulted in his deposition. relief. from the particular to the cultural. Museum. from the private to the public. they have not questioned the understanding of painting as a pictorial form of art: brushstrokes By contrast. preface miniature.58 imprint replica. pattern. and. pattern. silver-gilt surface decorated famous icon. virtuoso His mimetic competitor. culture. with the history and gemstones. 4). without relief and the icons. on a material in what surface. in Marian devotion was shaped through icons and icon the Byzantine capital sion. model. type. a dominance the ninth and tenth of relief icons over panel paintings centuries is also evident in the contem icons were not porary function of images. mid-9th lv. dictionary mark.538 ART BULLETIN VOLUME LXXXVIII NUMBER 4 12 Khludov Psalter. 129. painter which Zeuxis deceives creates the a birds. picture Parrhasios. Only the revetment preserved the aesthetic of the luxury metal relief icon. it established processions. 4). fols. of presence gives of an paint ing?and. pearls. State Historical century. All meanings are inter . individual The and encompasses mark. mimetic pictorial copy of the Although Norman Bryson and other scholars have world. shape. as icon?as mentioned simulation insight mi Byzantine through the Hodegetria development ographie on small focus of type this (the One Who Leads the Way). In the best examples. example. icon emerges as a Chalke in a medallion Traced to its source. The small size and luxury materials system of of use. painting (graphe) is best understood and sphragis). Typos spreading decree pression.5S Consequently. signifi tradition. so they were not the focal point of public ceremonies. icon depictions cance as copies in this manuscript sharing in the Chalkites's acquire greater form.52 Wood panel paintings allowed for unlimited expansion of size. Ernst Gombrich has offered the best-known discussion of painting as a naturalistic.57 in the Byzantine theory and emerges consisted filigree The of an enameled designs. In this period carried in public processions (litaniai). the icon (Fig.56 challenged his perceptualist theory. One gradually proceeds individual mark to the state. icon of Christ and King Moscow. this metal cover The image of the world also obtains in the Renaissance theory of Leon Battista Albert! written in 1436. exemplifies Until the late tenth century. In one of his anecdotes the grapes. These processional icons (later referred to as in Byzantium from to ritual. medallion David. The sacred figure painted in tempera lacked relief and functioned primarily optically (Fig. signa) had the effect of shifting the perception from a medallion relief image in Byzantium painted panel (signori). of the ideal (typos) to a from the decree. of Finally. 2r (artwork in the public domain. exact of the imprinted form (typos) with a standard entries range the changing of definitions and follows: state im image. form. rite. the As the This Eastern perception imprint earlier. acquired toponymie Once the its own name Hodegetria weekly occurred mostly the became liturgical proces is understood luxury a cult interaction ambience. icon: The ideal Byzantine metal relief. cod. Moscow) Chalkites at the Bronze Gates is correct. these relief icons conformed to a more intimate in turn paints deceived as he a curtain attempts so skillfully to draw the that Zeuxis curtain himself to is see in order the supposed graphe as the painting marks of behind the it. The image is not the imitation of form but pos rather the imprint of form.54 The on a same definition surface creating of a brush mimetic situation changed in the late tenth century when icons and led to a appeared in imperial and liturgical processions new demand for the larger size and accessibility of the image in large public gatherings. are as representation. this perception derives from the Natural History of Pliny the Elder (23-79 CE). most of Constantinople's as imprint (ty practice. legitimacy. gr. mold. then all medallion Painting In modern painting and as Imprint Western as culture of we the are the markings to conceive of predisposed on a material brush surface. the first example of a monastery in Con its identity in an icon rather than a relic stantinople investing of the Mother of God. photograph ? by the State Historical Museum. finally.55 In recent times. by into Byzantine mesis extension. imprint. With other in a gesture one hand of he holds His a scepter enormous and wings lifts the press tangible: divine display intercession. re The As enamel than wood panels painted with tempera. 14). by thin. repouss?) The Archangel purple tunic covered is and lavish use of materials (Figs.65 dissemblant fire?a The material imprint of the unfigurable semblance nature of fire of the created by dissemblant Archangel's and The to the reproduced icon. understood authentic impression. symbolic is nonmimetically and spirit on the diverse surfaces of and sensorially sensually taste.64 Rather the set to palette knife. The undulating most The exquisite excess tempera a vivid is pushed. as Catherine's of of icon. on matter. forms shape giving the materiality is no absence. they form giant touch . Gargano perceived optical experience. Andr? Grabar and Michelangelo commented on the "unusual" betrays medium once again and our technique modern of precon this icon. Only through (Fig. made that modes has Touch. the only truthful form of representation it is the imprint of absence. too. Gargano). A subtle tension emerges between the figure projecting in relief and the sunken central plaque. Human beings can grasp him only through the imprint shrines he leaves on and matter. script impression/trace can a surface matter onto 21). Marco fire senses on is even Its closer to the truth. appearance through relief icons best embody While enameled the icon as imprint. the perfect by the compare sensation impressed. from image the At gold itself the same surface sends off time. 13) . through Just as so. image production to ritual practices and The icon belongs to a group of luxury objects looted from the palace in Constantinople when the city fell to the Cru Muraro have saders in 1204. panel painting continued in the period collection Sinai. the relief icon of the Archangel might have been more characteristic of the Middle Byzantine ception period enamel production. image. displayed Nor could that warm imparts wax materialization encaustic. The the in a material enam that icons should be primarily identified with paint ings. His enamel icon its definition. Saint are Michael's as at Chonai S. both as the touch. the an enamel and fired icon to a high to a temper the Byz writing. surfaces imprint inundate of the faithful imprint traditions. visualizes to the glitter the and rays in of that a light the sense imprints left by him on the landscape. A chasm (Chonai) and a shrine carved in the rock (S. Alois Riegl referred to the tactile qualities as the true aspect of an object as opposed to the illusion the optical frame. gives theory a palpable imprint of divine appearance shape by displaying form. in an imperial stands frontally. materially simulate the angel's and saturated presence. incised. The face extends outward the most. It. enamel textured materiality beyond lief icons (Fig. imprinted be realized and abstract ideas accessed. on tactile because a material impression a texture both and are simultaneously grapheis surface: Sight of and the it and oppose a mimetic a desire in a naturalistic the angel's than enamel figuration appearance. Monte For instance. of responds that beyond reality representation: symbolic angel's of higher heav for the contemplation allows is thus a The enamel icon itself matter. incarnated. imprint.THE PERFORMATIVE ICON 539 linked metal. This is one of the filigree Byzantine of matter to depict of filigree functions in existence. and present of the the model icon the acts is an rite in too. negative the imprint (typos). congealed it acquires glass or the mass. Just on matter. to what and matter.59 and the reproduction as a cultural Byzantium ensures as the typos:. cultural linking identity.66 It is this hap tic aspect generated through (relief and textured surfaces) that engages both the Byzan tine ation icon's theory of the textures.60 with right of However. By in S. of perception unites image graphe of visible characteristics as graphe: letter. tenth-century enamel relief of the Archangel Michael 1. because painting sight. style. of vision icon. and imi for the Archangel. at the St. antine impression enly As placed an definition in a metal mold. is an imprint image is the of letters inscribed. The (extramission) viewer's active eye gaze sends and seeks off the the rays practical tactility that touch vener of the the The surfaces emanating "animated" of objects. Icon's Materiality and the Sense of Touch textured surfaces of the Byzantine icon engage as demonstrated by the sensual appeal of the five the late (Figs. tangibility the relief to the angel's present icon as a typos becomes gestures ritual tation uniformity culture mold. 15). after icons Iconoclasm. but its materiality of surfaces. It stops projection. limitlessly ducible. repro form. They perceptually as to be embodied. graphe tempera theory because and could The body multiplicity shapes and practices in its signaled making reciprocity the metal actual to of produc the latter typos. Marco is one It of the few a extant displays mastery of this examples of metal techniques exquisite (enamel filigree. for it is an glass. and imprint. 13-15). dressed with a gem-studded sash called a loros with the relief icon. gold repouss? surface is enlivened with a pearly dot profile. of graphe as imprint This understanding engages actual leaves sound. to divine of the absence. served Mount compete tion the concept of to be produced by Monastery the pre on not to the sides (Fig. this available hapticly ample gaze. of speech endless The secures space. The S. and The incised of a form surface by the the of 13. of the imprint of an intaglio on imprint becomes time and of visible characteristics of a icon than set of the imprint Both rather practice emerges as and the fossils: contact absence. is made presence. and sound. the angel is fire and spirit. relief of the is rendered as a is outlined. "imprinting" a figure in relief. matter substance a to what present fills an empty longer Both shell and gives there. powder. physical a relief. image all form. enfigured are textures touch. like a of cells functions el's underlying metal foundation into this grid The glass powder poured intaglio.63 As discussed earlier. ature. icon of the one who re-presentation of the is fire and angel's spirit offers It a dissemblant of glass nature. Once the powder is fired into becomes glass.61By nature. the and decree. combats the Tactility The The senses. 13). examples as dissemblance. yet this projection is imme attested diately movement checked and by the palm arrests the turned to the viewer. no materiality rests in him. Imitation-pearl strings delimit all frame the enamel plaques and gemstones (Figs. need imprint prede Graphe in the of the material the surface termines Byz importance so antine perception of the icon.62 For relics giving this reason. Their reaction The coin or seal model why after Iconoclasm enamel (typos/sphragis) of the icon explains became the medium par excel lence. snow white. jet black.72 objects they gave such decorate Being were a on subject as the the of the twelfth of Byzantium. Color In the and Light and the Sense of Sight color. Not medium After surpris in the activated desire a Byzantine to through touch is also icon it becomes enamel century. and sources. impressed as Suida. the eleventh-century body-centered ritual. image. photograph Cameraphoto. Resource. both defining a the sign of from an Arabic source. ingly. we learn became expressed to be is expected the manner aspasmos congealed. NY) provided by Art by capture becomes The which th? viewer.69 sparkling where of fringe to the most dynamic coruscating . It a is glass packed in a metal mass. a set of enamel bracelets given by Emperor Michael in the 1070s. Their inlaid design was of the finest tive of craftsmanship. "color appearance Digenis borders the what light. and deep azure. intense movement. in on matter. is an the announces. the Archangel Michael. enamels armor. central (artwork panel late in the public domain. The body of the worshiper the spectacle of the icon's performance/mimesis. as visible aspect of traits light. Byzantine Akritis. in teriality firing. tenth As of color. mold. or. The space the between exchange icon of in and gaze beholder and touch.70 A description of one such gift. making the dazzle of the icon the air with their tremble.67 The proskynesis sets off the optical as the approach of the faithful disrupts breathing and movement. They were fashioned with the best goldsmith's work. the tenth is is ers. This shimmer ing. The Book of Gifts and Rarities. enamel and purple silk were the two most highly valued Byzantine exports.540 ART BULLETIN VOLUME LXXXVIII NUMBER 4 13 10th Icon of century. gemlike the signature Byzantine venerated: (kiss) and proskynesis (lighting of candles. century epic in the production. these the garment. most material century encyclopedia. reads: "five VII to the Fatimid caliph's mother bracelets inlaid with glass in five colors: deep red. it still attests to the high quality and craftsmanship Constantinopolitan Similarly. aspect is visible and vision color of equivalent The receives of enamel this. sky blue. exemplifies best at in this material this ma form?the luxury clothing. saddles."68 Looked corporeal."71 the Arab importers While rather this text than us the gives the Byzantine perspec export wicks agitated lights dance off the metal revetments. and prostration). glittering effect gives rise to a sense that the image is is thus fully engaged in animated. making the cross. elements radiance. by Art Resource. the medium perception a substance rather in Byzantium: characteristic passage in Digenis Akritis relates: "the glittering violets were the color of the sea with its calm ruffled by a light . head the look of gems such. photograph is Words light-emitting by Cameraphoto. of the (artwork in the public domain.THE PERFORMATIVE ICON 54I 14 Icon of the Archangel Michael. NY) effect. describe provided and A colored into a glass mimics metal important form and and for color in Byzantium qualities of the brilliance than its hue. The always combines of color set the late 10th century. glittering two most As plaque. late 10th wing porphyreos (artwork in the public domain. radiance."73 These words do not define the hue. instead con flowers constantly emerge fluttering in their and shimmering changing. photograph by Cameraphoto. In the same passage the as gleaming and shining: "a meadow is described garden beneath the trees with its many colors bloomed brilliantly gleaming with The the flowers. sight paired with inflation" and purple in it. earth. Both courts. Radiance is most highly valued. ornament color of milk. roses were reflected sweet-scented a purple-tinted in turn the narcissus. NY) breeze. ing vibrancy denotes flected the sweet light from surfaces: a polymorphous sense of smell and sound.542 ART BULLETIN VOLUME LXXXVIII NUMBER 4 15 Icon of the Arch angel Michael. century. Color becomes their colors the re juring a picture of the shimmer of ruffled water. provided by Art Resource.75 significant and celestial the "jeweled ceremony Gold elements terrestrial and that and remained contin appear as both myrtles. narcissus prominently . The the visible characteristics of this chang surface."74 roses on and the The The glitter of surfaces betrays surfaced dominant ued to be in Early in Byzantine the two most in the Christian art aesthetics. 80 De on the intensity and position of light. the body dressed revealing its vibrancy in the purple of hues and silk will animate shimmer. For instance. Paris. silk. and encompasses and purple spectrum to blue nature iridescent. and The affinity between purple and gold ismade prominent in the way they are paired on luxury objects. TTop(j>vpeo<. photograph by Giraudon. The worshiper is equated whirled through the many changes of the sardonyx under the it as flesh. Gold as an and purple are employed fragment kept in imperial at Auxerre eleventh-century of Saint Germanus.\a>u. is paradoxically as?malos (bodiless) spirit. of the the alternation silk. pyravges unlike term. Therefore. polymorphous porphyreos exemplifies change and makes it a the Byzantine fitting actor love for glitter in Byzantine mimesis. it performs divine presence. and each batch could differ in hue and satura tion. the body of the pending chalice can glow like burning ambers (Fig. describ ing metal's reaction is another to (?jL Ta\X. who in a golden of imprint is fire and on matter. transforms is reified before in enamel the viewer and gold. Byzantine rosy red. This appearance fire. 16. also be glitter of derives phonet enameled (xvfJbeio)). phyreos of a stormy luminous English hues black. gold and provided in the public (object Art Resource. when likened armature. The spectrum of hues is ar ranged to perform. can easily be explained has a more a changing. coruscating effect of purple complements This fascination with gold radiance and but the glitter of gold. The late-tenth-century enamel icon of the Archangel ex to ically linked to chimeo (^et/xeco). Marco) is set of gold and the chalice in a tenth of NY) century Byzantine gold enamel mount (Figs. With of each gold step and and purple gesture. "to freeze. Marco icon uses purified through in cor substance frozen fire and dappled through to in order and the angel's gold purple perform essence: a dynamic."82 According the latter. word green.evT?<?). the medium imitates the effect of the shimmering and reflective surface through of ice.79 or irvpetvyri?) from sea or the captures colors of this the changing quality. its translucent fiery body of sardonyx gives the impres sion of live flesh: the body of Christ.78 The Greek word for purple (porphyreos or pyravges. a ma the murex. as one lifts gold. This as light into matter. the Patriarchs antique (in the employ sardonyx treasury the fiery splendor bowl of known S. Finally. ranging The spectacle the from fiery. 19).83 The polymorphy of this glittering metal and enamel is also captured in the Greek word metallaxo (fieTaWaCo)). energetic. The S. The from word chimio dematerialized in Greek. surging expresses the a Por waters the limited of and of derives heaving. When filled with wine. enhance At the the same radiance time. rine mollusk. ?eiKiWjro?) . visually to the human body of Christ. The tunic and feathers of the wings play with the mutability of Byzantine purple: the deep green of the dalm?tica is picked up in the outer rim of the feathers. the diminishing liquid gradually reveals an enamel icon of Christ at the bottom of the bowl light. "to alloy. fire to fossilized The icon The tongues of fire contained an iridescent angel. 2r) showing Emperor III Botaneiates Nikephoros (originally Michael VII Doukas) textures of the fabric in (Figs. Through its changing appearance.76 The contrasting crease the visibility of the eagle design in the Auxerre frag (shroud ment. experiencing and divinity. while blood. body. icon constantly matter into empty. 13-15). to act like fire. by Auxerre from the same period A late purple. again with the idea of change introduced by . 17). 18) or coagulate into a deep blood color (Fig. purple in Like it has meaning gold. 19).THE PERFORMATIVE ICON 543 embody silks. The enamel could be a dis fire.ov) temperature term used changes. spectacle of light and gold. suggesting the cup to drink the wine." by the scintillating chimevtos yet (. its opposite: paradoxically thus presents ploits the same shifting fiery vibrancy of the Byzantine por phyreos (Figs. 11th century.81As it is consumed. Enamel is achieved matter semblant uscating kinetic (fc?kro?. the whole gold. ever-moving being evepyov&o?. fol. 79. 18. Coislin cod. Church of St-Eus?be. gushing of fire. Besides silks and imperial accoutrements. such radiance. purple domain. which are followed in turn by feathers dappled in ruby red and emerald green (Fig. gr. the deepened by the dazzle of purple color is overwhelmed the presence of divinity. blood. 20) .84 to designate Metallon gems and mosaic cubes. it could the wine becomes (Fig. Auxerre) from contemporary depiction of such cloth in the miniature the Homilies of John Chrysostomos (Biblioth?que Nationale de France. Byzantium. 15).77 ble character imitates both fire that and The highest-quality dye was derived from culture-specific muta waters. enamel icons and liturgical as chalices 16 Imperial silk with eagle designs. turbulent by its glitter. and the St-Eus?be. The the fabric. The of own in this mimesis makes state a the excited enamel: spectacle worshiper essence very the of reproduce the in subject effect of surfaces.90 spinning In a similar way.86 that constantly changed light This kinetic effect of the Byzantine relief icon defies modern difficulties because photography and display and gives rise to the icon's mimesis. and a variety of metal image. and shimmering light. subtly 13-15). France. de France. meaning "diversity. whirl of the visitor imaginary aesthetic sensations. its performance this icon with life." an arresting sight of varied and shifting ing colors. the spinning polymor it as Synesthetic Vision (HoLKi\ia) a symbolic imprint. glimmering. On the S. Paris. In fact. Through (mimesis) of changing appearances. but taking his fill of the fair spectacle in the very atrium. quarter Coislin cod. in one of muting of this object. A similar synesthetic seis of palatial churches. mosaic. of energetically to take attempt the ob vision. 810-after 893) of the Pharos church in the Great Palace. energized. In trying to grasp ject. sensations mance each of shimmer and radiance is fulfilled on the surface of the relief icon.87 In the description provided by Photios (ca. of the icon equates ceaselessly the essence moving of the being depicted riencing These the to the psychological are materially state of the subject expe generated. The perfor Pikilia is at the core of both the spectacle (mimesis) of the enamel icon of the Archangel of the and the description and fragrant meadow in Digenis Akritis. marble to in order substance gaze. Its vision (pikilia). and smells. is The transfixed spectator the incessant by is first enchanted by the diversity "Arresting and of veins turning in the exterior marble towards themselves the revetment: spectator's gaze. according across in more to the the of extramission surface. 13. before this of and the scintillating gemstones a the scintillating of metal. shining . changes cloisonn?. in a whirl. The spectator ing materials and textures: the only by the escalates diversity the of sensory shimmer It is as if one had entered heaven itself with no one barring the way from any side. making astir. of fire and touch also spirit.. Paris) is circling Biblioth?que 79. The morphous before the quality of light and the transformative nature icon of the Archangel this poly exemplifies that melts into fire and freezes into glass revetments.85 This changing in the Greek word pikilia and touch is captured sight (ttoikiXIol).. gr. the visitor stays as if rooted [to with wonder. The gives rise diversity dynamic of textures polychromacity that appeals of matter. which he is forced to experience by the variegated spectacle on all sides. amazed. phous and polychromatic Pikilia seduces the moving eye. the model scanning.544 ART BULLETIN VOLUME LXXXVIII NUMBER 4 surfaces The icon (filigree. For the 17 Homilies Botaneiates. perform effect of gold. so is one It seems itself is in ecstatic around. impressions. this diversity is optically and hapticly configured through the use of gold. photograph th?que Nationale through his whirling about in all directions and being constantly astir. all gained through chang living. dissemblant Although only Pikilia and essence. imagines that his spectator. 2r (artwork in the public domain. and fixing his eyes on the sight before him. before the and gaze repouss?) and touch. in and shimmering surfaces imbue light-emitting. Nationale de of John Chrysostomos. enamel. to to a the agitated spectator of the Archangel icon is dazzled by the of sensations triggered by this object. a spec tacle of light (Figs. and was illuminated by the beauty in all forms utterly motion. it conveys the angel's kinetic essence spectacle. Grabar remarked that the catalog descriptions under the Archangel's image was photographed under enormous reflections of of the shimmering multiple the expression of the face. The whirling diversity spectacle his/her depicted angel. The visitor round sensations back onto the object. glass (with hues ranging from green to dark purple). The spectator reeling on causes a the subject reciprocal projec tion of his or her experience appear animate. personal condition is transferred to the object. fol. sensual textures. they make him unwilling to move further in. vision in whose (pikilia) emerges architectural in the ekphra surroundings this enamel icon resided. the icon of the Archangel enacts is continuously that arise from in both form presence. The gems and gold enamel mutually reinforce other in creating a vision of splendor: photismos. trans the effect of ambient light. vision vision of change.89 The rich aesthetic silks. dazzling Marco icon. gemstones. 3rd Emperor Nikephoros provided by the Biblio III church of the 11th century. It is in this splendor that a vision . moves an the eye. and the all around like that so many everything stars. (Figs. 14)."88 ground] The of the interior approach is stirred overload. is orchestrated silver. blue. pearls. gold Venice X 10th 6% in. Marco. shimmering the icon emerges on a glittering as a ine this ineffable place of rest and delight. ble paradise. Marco) a more literal enameled image of Eden: a peristyle with green. The paradise. and red blossoms set in a golden as a dissemblant the means armature vision of (Figs. Manuel The image of gemstones gold . sparkling for the This blossoms icon evoke the evergreen of is a material incarnation Edenic of gardens the ineffa and reconfigured as gold. The Archangel dot profile of this delicate gold file coruscates. and draw attention gemstones.94 dant green of divine evTpvtyav fie rp ^?o-n]. fresh green (chloe) and gold were for them equivalents. to brilliance connection between gardens according the icon's decoration (epigrams) written on is fully explained the surfaces of in the metric some Byzantine prayers icons hue. in amber (22 X 17 cm).91 and the again written as an epigram for an icon: "I contemplate the Golden seem to In the Eden of the icon. radiate tines ^Aon. but especially (chrysos. (object di in the public domain. Venice) of emerges. and to the material ask in exchange gifts. photograph by the Procuratoria provided San Marco. 22). 2. of half golden vibrant green. surface Byzantine (Fig. In its pikilia. ^?copo?. ^ptxr?c) chloe. century. shades. light. Treasury of the basilica of S. these tangible riches evergreen gardens to be granted of Eden: a place of rest in the imagined "give me enjoyment in the ver icons stirred the faithful the verdant paradise of to imagine divine in the radiance Another of gold enamel delights. for both are connected through brilliance.THE PERFORMATIVE ICON 545 18 Chalice of the Patriarchs. They gold. Like the first green of spring that appears in its brightness as gold.?o? delights shining gold on the material material which vision to of through imag icon of displays garden the Archangel (also in the treasury of S. the leaves half of the ginkgo the tree in autumn. sardonyx glowing 8% enamel. or yellow. glitter (Fig. for silver. voiced in the fourteenth-century poem of The same idea is Philes. Gold and green (chloros."92 The surface the of the icon appears and verdant paradise radiant [deia? rpv<\rr\<. enliv pearly and halo of the angel with vibrant ening the background 14). paradise of the raised filigree It is encoded enamel in the revetments repouss? gold of On icons. paradise. the the creator of verdant paradise the plants Eden."93 is materially fashioned by art icon they display vegetal and flower motifs. which surround icon. categorized which They means shimmer color "the radiant and first green Since of the rather spring") Byzan than sparkle. 21). spectacle color exists The tents is beyond without the saints the tangible as radi form. and there was no like lightning. these flashing were very. dirt at all on adorned it. which was wondrous and incom immaterial light: to the abodes of the subject if from the to enumer sun's rays. and spiritually flashing inexplicably by the hand of God with many colors as if of linen-white and divine purple light. vt* .wn** *. and the And arising from there we journeyed saints.96 .546 ART BULLETIN VOLUME LXXXVIII NUMBER 4 ?. vated. the same celestial There. Venice) surface appears in many of the tenth-century visions of par The floors with an are of immaterial adise such as the Life of Basil the Younger (Vita Basilii Iunioris). light. sardonyx glowing in purple shades (object in di San the public domain.^1^^^^? ?3?rfV *r*:s* *m*^M* V o!* -3\\ 19 Chalice of the Patriarchs. . while the synesthetic vision (pikilia) ismaterially gener ated the ant. parable. realm. The blossoms extraordinary perfume: gleaming gold tiles outlined by of these flowers fill the space self-generated of We came to a courtyard. photograph by the Procuratoria provided Marco.* ?'* ^i?t?^. radiate with in ineffable plants. gleam not as the brightest air which was like lightning of sort.95 describable them with pleasure divine sending and joy inexpressible those filling happiness. And with golden its floor was flashing tiles. those golden and they were tiles there fragrant and abounding illuminated were flowering in forth and fruits. ation. very many. it. Yet. and in the joints plants beautifully and who of every culti in saw and immaterially. on the icon. an extraordi nary effort is placed on sensual experience. A list of words and phrases " reveals how this immaterial pikilia affects the body: [visions] inexperienced. itwas beautifully and constructed from emerald. and nose. 1. the tenth splendor of light surfaces?a materially photis "en-fig [The servants/angels were] immaterially dyed scarlet and filled with all beauty. noetic. immaterial description. (?xoTotvy??). beyond and words.). TT <J>o>to i?tj?. lxop<t>os.% OL<rr?)p. by human beauty inexpressible by human voice and inaudible for hearing. intangible to touch.. inexpressible sweetness. buildings. photograph provided by Basiliek van Onze Lieve Vrouwe. radiance aoTpairo (X. be held and pleasure hands. unspoken. On their heads they carry luminous gold crowns: century that mos In contrast to this immaterial celestial icon of Michael exploits a material is reflected that bounces from off the metal bodies.9 (?HuTeiv??. and beyond taste and smell. Maastricht (artwork in the public domain. gold (xpwr??: Xpwo^aTj?. girt in belts like loroi with color from heaven's rainbow and like lightning. mouth. and surfaces in paradise.98 clad in cloaks ured" in the Archangel's icon. unseen. This whirling ears. quarried of scintillating is laid with ruby dishes framed in gold: quarried rays. ir??iaKO?). inaudible to hearing. medallion with Christ at the bottom of the bowl (artwork in the public domain) The emerald.afi7rpvv?)9 aaTpairro). ray (avy?j: (?xoTavy??. sun (rf?to?: r??ux^?yyo?. taste beyond expression and recount. An imperfect embodiment that evokes the immaterial perfection of heaven (Figs. VTwp<?<.THE PERFORMATIVE ICON 547 20 Chalice of the Patriarchs. table decked out for the feast."100 This synesthesis lacks not . which seeks to make it tangible. and Paradise glass is light. engaged eyes. inexpressible. which were similar to all the precious stones and gold that come from paradise. .. Basiliek of the Virgin with an epigram van Onze Lieve Vrouwe. irepiavy?C?). r??MH^?yyo?) . within the Vita Although Basilii Iunioris. They derive from light (</>a>?: pL<t>o)T?(rixevo<. e?aorpairT?)). ?Lavy??a. Light conveys the ineffable es sence of souls. their shape under flashing iridescence and radi changing ance. fire (itvp: imp?iao-iia. [The table was] 30 pech?is large. ?a/uLirry?ovo?. and on their heads they were wear flashing ing diadems of gold which were exceedingly glorious and variegated with gems and precious The pearls like sunbeams. lightning and (aorpair?}. the realm of paradise is ineffable. im possible yond to render reason in human words. aKTtvoei?ff?. </>?)to/3o?o?. the icon falls short of the celestial exactly in itsmateriality. xpwavy?C?). emitting flashing and on this table there were also visible red gemstones lying like dishes set with gold like lightning. experience. a?yX. vision but is addressed the effect to the fingers. perfume beyond fragrance. beings that be can human xpwavyi??)) . All five senses are images that emerge in this vision are polymorphous. Av^wraibc). fra richly nuanced and grance of violets and roses beyond human knowledge sweet indescribable recount. their feet snowy." The and polychromatic vision (pikilia) reifies out polymorphous of light immaterially created.13). ?ktx?.97 21 Enkolpion (pectoral pendant) inscribed on the frame. About thirty words for light come up in this ekphrasis. is titillat ingly invisible to sight. in the pikilia. Maastricht) The angels appear in scarlet tunics with loroi radiating the colors of paradise. 103Most of these poems material teasing. mative magic. is of Similarly. Illustrated In the furnish of the preface miniature Khludov Psalter.104 All epigrams syllables. sent with Byzantium. so the instance. signification. Robert signification exploits meaning and Byzantium's the in dome. The other figure is beginning about to sound his trumpet to initiate the reading of the of Psalm Psalms. in the of of that everything circling icon's Byzantine insofar the tinue arch. of 24). Music visually emanates from this miniature. demonstrate tangible a de The Sound Byzantium. from of The a the sonorous human of a this sound of the lyre a prayer its music. 13). prayer's sire to imagine image mance form of prayer. The presence body."105 system of is in ecstatic motion. reverberates bouncing (Fig. for it continues epigram. to as around. 21 ). By contrast. letter and visualizes this action the by perfor sono repetitive. standardized ensuring sound churches. then come record be linked sound script. page characters then be to can the a is voice. Psalter the faithful prayer In Byzantine quintessential are corporeally a record of culture. shaping matter by impressing its circular seal of . of request power of Simulta the to a he confines These as prayer the culture supports higher intercession. 23). mance other were experience resembles For gifts. NY) letter was resulting and linked experience to the smell and was simultaneously taste of the gifts. of prayer. Both being While epigram the the image reinforces a graphe. The link between Psalms. of reading sound 22 Detail of Fig. provided by Art Resource. inscription transforming contributes the icon a Byzantine domes. that the triggered sensual in perfor of letters the experience of writing. tactile. represent like books the the icon. 12). this profoundly articulation. which was meant on icons are will to be read aloud of put the form twelve the same (Fig. rously visceral. visual. the means. of Prayer: The Circuit While all five senses are engaged in the pikilia of paradise. associ ating the act of praying with and the imagined melodious The image triggers The to the pronounced. performance: the memory letters performance. The sound of flanking brings his tune him. the in off the the The Pharos vaulted curves same interiors of perception "It seems arches. imprint. the its gaze grows Two in more into and the accompaniment appear of page the above open to the of the musicians the arch. David poems. established epigrams through of icons the Davidic materializes in the (Fig. stresses sonorous the which at the means same that point. of immaterial. 2: the garden of paradise (artwork in the public domain. example experienced. this sensorial agitation is created by ineffable stimuli. particular an not it does lose its music. icon this experience replicates Its lush decoration and through epigrams material. photograph by Cameraphoto. because level and the the the position image angel and ensures transfers it through action the the his of the continuation received own supplicant. on the string of transformed of a silent of lips activated The of genres often corporeal experience the moment the multisensory the Psalms sound begin and that sight to pronounce by the poem. into replicating material it. He The is shown raising his hand not only receives in a gesture the prayer circular the the same intercession. This perfor composed uniformly create will everyone and all prayers framework. olfactory. this perception. and testing in the way it expres icons. Music and writing coexist as King David strums the chords on his lyre. but with his own stance and hand movement replicates neously. Archangel architecture it captures the express vault. and semidomes generates a prayer. spond contain are written in the frame of overload bodily reality so yet beyond to re and the central encircling customizing image to a not Even when the panel does request.102 The aural. found a sonorous in Photios's ekphrasis church: The shape faithful's of the needs and wishes sacred for help materialize this case. music also and prayer. and One figures the across space the audience above book directs 1 on the facing folio. to high they literature praying are prayers in before meant it. gains inaudible. the ineffable. its efficacy.101 poetic of sound.106 circular paradigm of spatial the forms sphere: con of the the faithful. sight and sound are linked (Fig. sensations experienced. are similar performative. and to avail itself of the sound of the faithful Poetic to be inscriptions pronounced. essence Nelson as and the church has recently and defined itself is the depicted figure?in the Arch angel (Fig. tautological. Ineffable. is so sion stimuli.548 ART BULLETIN VOLUME LXXXVIII NUMBER 4 The in icon their thus process sets of up a circle: and the a mirror imagined Psalms These of reflecting response. 79. touch. like . graphe becomes the performa empsychos tive image/writing esthesis. the other into a sound carried in space. that stirs the five senses and triggers syn experience of hearing and taste described in Vita Basilii Iunioris synesthetic experience could also be demonstrated the Eucharist cup at S."107 This con nection between the pleasure of reading/hearing the voice of the writer. by It can show how sight. gr. The are gathered at an Edenic symposium. The referent In the case of prayers. fol. Figure and letter. filled with nectar of ambrosia and brought it near his own mouth to drink. it is the invisible and intangible God. Drinking this divine substance. Coislin cod. And through the voice bearing the melody in space. and music is a topos in letter writing. it tries sensual through is the writer.??pp Smell and Taste: The Transformation The sonorous icon brings the two aspects of graphe. and when someone received in his hands that wondrous and flashing cup. photograph provided by the Biblioth?que Nationale de France. I hear the echo of the musical tones of this wonder. together: graphe as the imprint of form on mat ter.109 of an absent letters. souls of pass They around a glowing chalice with a nectar of ambrosia.110 more illumi As Theodore Hyrtakenos wrote in a letter to his friend in the fourteenth century: "gazing at the letter. drinking. monk reading the homilies to the emperor. . 1 g^fe&^ (2 bis)r (artwork iri the public domain. for this ismy blood of the New which is shed for many for the remission of sins" A similar synesthetic Testament. Spirit. The letters imprinted on the metal surface announce: "Drink ye all of it. Marco.. 18.108 The oral performance of letters and prayers (epigrams) de on a pends multisensory to reconstitute presence stimuli. For the Byzantines. the face of each participant transforms into the gleam of budding roses: The mixed wine in those immaterial and sun-bright cups was gleaming intensely like burning hot coals. Paris) :. emerges the saints in the vision of the Vita Basilii Iunioris.THE PERFORMATIVE ICON 549 W:??W~? wm ''MMj mi i*y ?*? 23 Homilies of John Chrysostomos. Biblioth?que Nationale de France. he was filled with the sweetness of the Holy nated. one translates into scintillating light.. and sound could be linked to smell and taste (Figs. I feel I see you in front of me and fill up with your sweet traits like honey. painting and writing. An inscription is enameled on the golden rim. In the case of experience. this absent In both entity cases. His a rose gleamed from emerging face and the he was calyx. Paris. the sense of taste emerges. 19). burning. ensures edge of God. usually formative The verb associated moment used. The role of the icon is equated presence translates into the to the effect of prayer. dissolving sacred 24 Domed interior of the monastery church of Hosios Loukas.113 of it by to Paul Speck. yet it is linked to taste and the Eucharistie ritual and stems from the integration of the icon in the Susan liturgical Harvey rite. and turned a sweetness He mouth. "partake" to this trans It refers the Eucharist. corporeal agitated sensations. and see that God is good. While from material present essence. the wine fills up the lips mouth. partook of the sweetness and gave the thanks to Christ. variety The of Book smells of Ceremonies are and spices reveals many instances to the court. frustrated in his attempt to learn all the Psalms. in the climactic moment the supplicant is exhorted with Psalms 33:8: "taste munion. visual and olfactory spheres. with is fJi TOikafx?av(o). the hands touching the icon and the lips kissing its surface link words with taste. and divine experien In a similar way. The textures of the icon taste trigger are a engaged synesthesis: sight. This metamorphosis cess this metamorphosis He of prayer. The vision recipient of of the wine. to the more recog It is in such aromatic imperial and liturgical ceremonies. Divine knowledge becomes sensorially through the body. 26:27-28). during the liturgy. into As such. takes this place experience in the pro (path ema. Like taste.118 that luxury icons like the enameled panel of Arch settings angel Michael performed.116 the worshiper loses his or her iden when tity. poured he into felt his substance sensorially a perfect means divine through which to experience the olfac presence: intangible yet palpably present through comes tory sense. followed by his riences the taste of honey new ability to learn all the Psalms by heart in a miraculous matter of days: For as the boy got up from the ground icon pleasant of our than Savior honey in prayer. an almost this intuition of presence of the is achieved icon.114 panel becomes the channel and prayer was established of direct divine response. triggers same time. (Pss. of the liturgy. Sacred of honey in the mouth sensation of the faithful. and from that hour on he memorized carried by the crowd. has Incense argued. Sound The in turn precipitates experience of the the sensa icon olfactory smell. to sound in the eration. which is addressed to the partici pant. or better. Then words become body. At icon the 18:11. es sence. After praying for help. NY) that of the bread and wine transformed into body and blood of the icon. bridge incense between affords a the human participatory. the excerpt about the icon that According caused the sensation of honey after the saint had prayed to it was interpolated in this passage during Iconoclasm: the asso ciation during The of the icon with psalms that period. burning the smoke accompanies of incense prayer.550 ART BULLETIN VOLUME LXXXVIII NUMBER 4 psalter easily and quickly and had learnt the whole heart in a few days. in the sweetness of of Sykeon participates Saint Theodore God. provided by Art Resource. The sweet smells are part of the synesthetic vision (pikilia). This hearing. sweetness in the the sonorous of Psalms honey.117 incense. and Like this taste. he expe in his mouth. provides As a scribed in the vision of Vita Basilii Iunioris where the saints' faces alight as they feel the sweetness of the Holy Spirit after imbibing the nectar of ambrosia. through Eucharistie Smell comes ineffable is affective transformed yet experience yet intangible. experiential smell. late 10th century (photograph by Erich Lessing. smell divine engages knowledge. touch. the the Like of reference the Davidic taste: to the honey poems. sense when God's voice directly 118:103) indicates the moment reaches the supplicant and grants him or her forgiveness. in the synesthetic becomes trans (pikilia) these formed pation in this climactic moment in the Eucharist replicates of the liturgy. essence. resorts to an icon of Christ. 7r?0T)/xa) back of or she onto the worshiper then the projects icon. 613) (Vita Theodori Syceotae). smell."115 Taste leads to participatory knowledge of God. appearance. triggered by proskynesis (prostration. Sounds become taste and ven Sight and touch. and spices traditionally accompanied Perfumes.m touch the surface of the chalice. and knowl simultaneously. and the As these words are pronounced (Matt. apprehended This sensual aspect of the Byzantine rite is fully integrated in the way not the icon operates. into the sacred presence The performance of the and sharing icon is equated in the to Greece. where or are a distributed nized the grace of God. (metalamvano. or simply waft in the ceremonial . incense be smoke: smell an be An account of such a spectacle of senses is found in the Life of Saint Theodore of Sykeon (d. the Com Similarly. prayer) and aspasmos (kiss) give rise enunciation tion of taste of and prayer.112 The saint. tial approach to God. The partici the metamorphosis de is more difficult to gauge. closed system of signification. "Epigrams on Icons. Demus. 21). It is in metamorphosis.THE PERFORMATIVE ICON 55! space. pleasures sight.124 As a result in the liturgy. is also sentations in all media. the corporeal."120 medicinal. reverberating it with life. The polychromatic surface of the enameled (avOa). a vision of graphe." in Art and Text in Byzantine Culture. New York: A.: Ash of the Theotokos in Byzantium. rich The imprint the icon of becomes visual an char icon pres experience performative of divine space. 2005). on a living reconstitutes and taste. Aspects ofMonumental 1948. bitter amber. smells. "The Five Senses in Late Medieval and Renaissance Art. bissera@ stanford. Liz James Press. The Byzantine tautological. Stanford. are embedded archs and comes God. Pentcheva. Her Her work focuses on medieval theory and Byzantine corporeal matter taste the perform the essence experience of possible Both sensorial participa and smell hook Icons and Power: The Mother of God in Byzantium State University Press. thus ence.119 on imperial ics includes cense. such as Carl Nordenfalk. 94305. air. ton Oaks Papers 8 (1954): 83-150. Bissera V. various musk. it an and empsychos. pure ground namon and wood. sound. that truth lathia. touch. lozenges and spices (Fig. and changing sounds by the shifts in ambient synesthetic vision of the Archangel likely shared the and the court chapel same aromatized air of in which scents. transferred From onto being reified sensually the graphe. a smell. Byzantine Mosaic Decoration: Art in Byzantium (London: K. which includes repre gate. Similarly. the intimate engagement of proskynesis (reveren preclude tial bowing) and aspasmos (kiss) that is tied up with the identity of a icon.122 also the flowers enhanced the sensual effect of the elaborate conjure and enameled golden filigree an of the gar image fragrant human of sight and touch is coupled with hearing sense the to be activated is taste.127 In its original context. and the tangible dissolve into a spiritual vision of partaking in the sacred. T. The most military elaborate account The appears extensive in the section aromat frankin way. aloes being?textures enced. without. olfactory was neutrality linked with its in to regard aromatic attire to contemporary in enamel ited" image. the face the Its rich sachar. Stanford University. appearance and the make holy. unconcealedness aAfjfleia. being. redolent an "inspir of fra offered as gifts. to coins. with its con centration paradoxically of materiality?an a vision reveals rich excess of the of materiality The that concept immaterial. this by the materially triggered synesthetic pleasure experienced faithful leads to something like Eucharistie transformation. Caratzas. The icon operates like other liturgical objects.126 In he a argues similar . first and function sensorially grasped as the material veil The absence. scents. For the definition of icon as a portable devotional object. Sight. This fascination with aromatics betrays the in which both the imperial and sensually rich environment liturgical Unlike ceremonies our were set. The circle of human preserving the is completed. saffron. cup. of akaQeia). scents and diplo were invisible and intangible to the faithful. 13). touch. This broader use of the term arose from Otto De Byzantine mus's concept of "spatial icons". Power in the Middle Ages itself in a complex synesthetic vision (pikilia). Calif. such as the Eucharist chalice of the Patri at S. and provide request a proleptic request and access divine to divine response delight. Trubner. Yet it is problematic. brings to the faithful the scent of salvation. power. icon's magic thus resides in the circular dynamic it elicits. phys ical agitation (ir?Q^iia) experienced by the faithful is simul taneously empsychos acteristics." in Images of the Mother of God: Perceptions (Aldershot. of an trigger and sound the divine. ed. touch. ed. "enflowered": virtually filled with the complex per fume the of of icon aroma fragrant subtly wafting blossoms. is the covering. sight.125 This dynamic begins with the icon's surface. by and giving it a material experi affirming as sur icon It rises as the moist quality. and most recently Thomas Mathews. 2006) explores the interaction (Pennsylvania between imperial power and the cult of Mary [Department ofArt and Art History. P. Through this crucial and smell. This performance corporeal apprehension. with it emerges climax: dens of the palace and of paradise (Fig. a variety of cinnamon other functions: of of second This rich underneath. creates (pikilia) that affects and saturates the the faithful. list of mastic. sound the As wine into affirmation pours smell of from and the taste. sacred presence. imagined individual. in order the human perform. the icon's instability. manifests These panel.121 authority The Byzantium icon at S. and engage While Bissera V. coming) 3. Starting with the Greek word alithia or alathia (a-. and touch. making sound. assortment even spices and cin presence becomes saturated dry. campaigns. Earlier studies on sensual apprehension art focused on in medieval the depiction of the five senses. Unless otherwise translations indicated. itself be of transform seal or Taste Notes This article presents an excerpt from my forthcoming book. This sensual.123 A Circle Completed As the worshiper approaches five ition from and tory. recent work has to the sensual effect of art and architecture: drawn attention Liz participatory knowledge of the performance/mimesis of the icon. a taste the intu stem smell professor at Stanford University. display and smell form Taste the the of three aspects and this of the paradise answer to present experience a prayer. these rare phenomenon performing because some political. Sensual Splendor: The Icon in Byzantium State University Press). of the icon as surface resembles Martin Heidegger's defini tion of truth. the icon uncovers that surfaces of the the a divine can be vision "ointments. see Ernst "The Cult of Icons in the Age before Iconoclasm. 1. the "colors" isflowers Greek word usually employed to designate icon is. perfumes. inundates The effect incense. a materially the most stages object. Another. icons. 2. (University Park: Pennsylvania from the Greek are mine. 3-9. served matic. Pentcheva is assistant image the icon and begins praying. By contrast. icon is dependent The object hearing. Marco imperial This mimesis of surfaces light. 1993). Maria Vassilaki broader definition. in Greek. The body itself in space before Byzantine to gaze. for many of the in this definition. The the moment that last the fragrances Moreover. polymorphy shimmering grance imbue light.edu]. "Isis and Mary in Early Icons. it resided perfumes. intangible of sensual "givenness" synesthetically perfumes. Marco.K. perfume. a mere absence. senses of These alight. forth (New York: Cambridge University . tease into out The through This visual form and and haptic color aspects of the memory or real. reprint. from frescoes and mosaics current in Byzantine studies. images included especially monumental painting and mosaic. U." fournal of theWarburg and Courtauld Institutes 48 (1985): 1-22." Dumbar Kitzinger. bk. Graybill for introducing 29. 2006). bk. Theophanes The Art of the Byzantine Empire. thus can draws attention 26. Die Koimesis the ray as gray (grau and hellgrau). "Visual Textuality: The Logos as Pregnant Body and Building. U. 1977). 10. The sanctuary. 4. 109:3). the famous icon of the "usual miracle" was always covered with a silk in Constantinople Church of the Virgin on on some Fridays the Holy Spirit allegedly descended veil. 16. 5. trans. Mango. exists. Studies Pre Glitter. Nicoletta Misler Salmond. concern about the draining of to the standard museum display. 11. 5. Patriarch Nikephoros.552 ART BULLETIN VOLUME LXXXVIII NUMBER 4 in Byzantium. Seeing Medieval Art (Toronto: see the article of mimesis as performance. 1899). 1-148. ed. Mango. 1-17. 2003). U. 107-37. Conrad Rudolph. Oaks. Christusbilder: Untersuchungen Dobschutz. re Italiano di Studi sull'Alto Medioevo. Being Given: Towards a Phenomenology of Givenness. Charles Byzantine in Barber. 18. Byzantine Aesthetics (London: John Murray. For the wide use of seals in Byzantine society. 5 vols. "Descriptio Sanctae Sophiae. Downcast Eyes: The Denigration of California Press. Anthony Eastmond and Liz James (Alder of essays / shot. idem. Kessler." Otto Veh. 154-60. 29-31. Corpus Scriptorum Historiae (hereafter Byzantinae The 1838). Gerhard Wolf. ed. vol. When the image. Concepts that are again surprisingly close to the notion of the embod of viewer and viewed are in Mer iment of ideas and the interaction 130-55. Sealing and Weighing. Wulff. Pavel Florensky." See also idem." in Artistes et philosophes: ?ducateurs? ed. ed. 95-111. "The Chancel Barrier. see Gary Vikan and Security in Byzantium: Locking. 100. "The Intertwining. col. in Bekker.C: Dum Dumbarton 2 (Washington. and Rico Franses. ed." in Visuality before and beyond the Ekphrasis and Vision Renaissance Press. Im manuel Bekker. Spiritual Seeing. For a discussion of Vision in Twentieth-Century Thought Jay. zur christlichen Legende. 14. 2001). ries graeca (hereafter. 32. See Herbert Kessler. 11. of Orthodox Faith.. 194. Solea. and the Trier Ivory. Bog tibule of the Imperial Palace of Constantinople (Copenhagen: trykkeri. Men and Eunuchs: Gender in Byzantium (London: Routledge. 143-68. Werke. 129-51. Robin Cormack. no. 87 (2004): 331-41. B. 87. Herbert Kessler. Weberi. Robert Nelson's essay pioneering suggests that while both intromission and extramission were known in By extramission appears to be the dominant zantium. 1976). Die Koimesiskirche inNic?a.k ov avbpi?vTa 8T)iuovpy6$v. ed. Spiritual Seeing. the Construction 1997). leau-Ponty. 39. "To Say and to See: which vision was perceived in Byzantium. 2000). of Stoudios. 4 (1993-94): 165-70. Poirel. Margaret Mullett forthcoming). ou r?alit?. D." Art Bulletin 29 (1947): 1-24. 326. ed. in Theophanes continuatus. 2002). 34. re were all covered in gilded-silver templon barrier. col. 1990). Kirche von Nikaia. 357D: "En tj ypa<j>i) t? crc?iiariK?v eXSo? r?V avr?v ypa(j)ovevov 7Tap?o-Tr?cri. the Past." Byzantine and Modern Greek Studies 23 The Brazen House: A Study of the Ves and Cyril Mango. in Beyond Vision: Essays on thePerception of Art / Pavel Florensky. in Prokop." Byzantion 60 (1990): 445 Chalc? de L?on III: Propagande in Icons. see Pentcheva. reprinted of Pennsylvania Invisibility inMedieval Art (Philadelphia: University Press. (Leipzig: J. 1993). Antirrheticus II. (1999): 258-85. esp. Deltion tes Christianikes Archaiologikes Hetaireias 17. 21. The revetted icon is explored Sen For preliminary find sual Splendor: The Icon in Byzantium. 3 vols. and Women 92. The in "The Intertwining?the Chiasm. 30.-Denis: Abbot Suger's Program and theEarly Twelfth Press. de l'ic?ne du Christ de la "La destruction 35. pire 1993). trans. Ibid. 108-42." Art History 27. Jeffrey Kosky (Stanford: Stanford University Press. 2002). vol. 24-51. 4 James. 87-88. Figure and Likeness. for Harvard Uni barton Oaks Center for Byzantine Studies. 21 above. printed 27. still covered ing lost their luster and shimmer." in "Women and Icons. ed. Dominique D. Villa Spelman Colloquia. 72-81. Pentcheva. ed. State Univer Mother of God in Byzantium (University Park: Pennsylvania of Relics. 33 (Bonn: Impensis ed. 340-42. (New York: Cambridge University and Gervase Mathew. le manifeste gothique de Saint Denis et la pens?e victorine (Turnhout: Brepols. I for introducing me to this work. 1857 66). de Gruyter. and Theodor Nikaia: Das Bauwerk und die Mosaiken 1927). 104-48. sec. Christian Descamps 1994). (Munich: Heimeran. See n." sented toRobin Cormack. Figure and Likeness: On the Limits of Representation Iconoclasm (Princeton: Princeton University Press. 1998). Xydis. 70-81. For an understanding of empsychos graphe as images inhabited by the to figures of speech. (1918). Artistic Change at St. Byzantine Collection. 23. 271. 2004). For instance. 99. and Ambo of Hagia Sophia. Pentcheva. Only isolated voices have expressed the icon's meaning when subjected "The Aesthetics See Sharon Gerstel. this veil lifted itself to reveal the animated (empsychos) im Icons and Power: The age of the Virgin beneath. 83. see David Lind of berg. (London: Reaktion. Cyril Mango. Micrologus. prism through to operate. in Icon and Word: The Power of Images in Byzantium. esp. and epistyle pouss? work and adorned with pearls and gems. "Sense and Sensibility '"When All That Is Gold Does Not (2004): 523-37. Oskar Wulff. no.J. 15. Century Controversy over Art (Princeton: Princeton University th?o "Pens?e de l'art et pens?e Bonne." in The Holy Face and theParadox of Representation. The way the icon self-consciously resem of sacred energy (essence). 111. Early Medieval Art of Vision. trans. in Kessler. 13 (Paris: Centre Georges Pompidou. Figure and Likeness.-P. Sacred Shock: Framing Visual Experience in Byzantium (University Park: Pennsyl vania State University Press. 64-87. 196. continuatus. and Glenn Peers. 1959). Migne. 1980). 246. 2002). Spiritual Seeing: Picturing God's 1998). Schmit.: Ashgate. Barber. forthcoming. Marie-France Auz?py. 161 vols. in Patrolog?a cursus completus: Se 20. Bissera V. mel. CSHB). 130-55. Vita Basilii Imperatoris. Toronto: University of Toronto 312-1453 Press. and Jean-Claude logique dans les ?crits de Suger. cat." Art Bulletin Antirrheticus II. in PG. Art of the Byzantine Empire. Performing Byzantium. of Western of sight. 24.ovt?o? 6 kidoykvQo?. (Berlin: W. in Kessler. o-^rfjLia te Kai fxop^v evrvTTovpievr} Kai tj]v kyn^?peiav. altar tables. For the Byzantine definition on the self-fashioning of Michael Psellos in by Eustratios Papaioannou (Aldershot. 1963). 332. "Configuring Face. thank Robert Harrison 9. 330. (Paris: Migne. See also Broadview Press. Wendy ed. 306-58. Theodore 357D: ri?vTC?c ?? tj eiKOiv tj ?7]fXLovpyov[jL?v% fX Ta(f) poii?vr} arrb rov^ 6L? TTpC?TOTVTTOV." and the Metamorphosis inMorfologie sociali e culturali in di Studio Europa fra tarda antichit? e alto medioevo.1. See Ernst von liturgical treatise of the Mandylion. Vita Basilii Imperatoris.otve\a?e kva7r (T(f)payiaaTo t??tov kv Tff v^-XI at the Blachernai 22. L.. Die Koimesis-Kirche von 1903). Paul the Silentiary." V. ings. ed.K. Only metal could have created the light that would have actual glimmer and flicker in the early morning into a visual reality: "I of the mosaic ized the prophecy inscription the morning star" (Ps. see Bissera Holy Spirit or as pictorial equivalents at the Blachernai. Kessler and 6 (Bologna: Nuovo Alfa. ro?? reQeu)py)fxevov t?v tvttov ?ireT?ev el? to 7Tp?)T?TVTrov." pressed Visible and the Invisible (Evanston. synthronon.: Ashgate. Theories of Vision from Al-Kindi toKepler (Chicago: University Chicago Press." Res 45 (2004): 225-38." "The Church Ritual as a Synthesis of the Arts" 12. 2. 2 vols. have begotten thee in the womb before see Cyril of the Incarnation For a discussion symbolism at Nikaia. in Mullett. reprint. see Martin culture's privileging 28. sec. 13. 17. 10 (Florence: Sis cinque sensi. celing any claims for the presence in the Latin West and displayed bles the way images were fashioned "Real Absence: before 1140. PG). to matter. For ancient Greek thought on vision. at length in Bissera V. See also S. I thank Lela (Berkeley: University this study to me. Women.. sec. This is a subject that 5. ideas ex 6. No systematic study of vision in Byzantium needs to be addressed in the future. 508. Nelson. b?JLO?(?(TlV TT/VV?. 2002). trans. Sight as touch resonates with Maurice Merleau-Ponty's in Merleau-Ponty. Leslie Brubaker. 13-24. 1997). eXa?ev v\j\v. 19. (1986.. The Art of the Byzantine Em lines 691-720. Hinrichs. "The Icon of the 'Usual Miracle' Res: Journal of Anthropology and Aesthetics 38 (2000): 34-55. vol. and idem. no. Xp?xreov Kai t?v x???. 107-23. University 1968). Treasures ofMount Athos (Thessaloniki: Organiza tion for the Cultural Capital of Europe. "The Performance sity Press. 2004). 2000). L'abb? Suger. Trustees versity. See also the collection vol. 33. 7. hav Most likely the tesserae were silver. Karakatsanes. and Schmit. . Natalie Blanchardi. 5. 112**. 31. 13. the Holy the Invisible by Copying 25. "Epigrams on Icons". of "The Chalke Gate. 1157-213. 101-31. Performing Byzantium. trans. Die Koimesiskirche inNic?a und ihreMosaiken (Strassburg: Heitz und M?ndel. described in soot and dirt." Mango. Settimane 45 (Spoleto: Centro del Centro Italiano di Studi sull'Alto Medioevo.K. John Nesbitt. vol. Barber..: Northwestern Press. 8. and the Pre-eternal Annunciation "The Chalkoprateia Logos. Jean-Luc Marion. C. Pentcheva. Ibid. A. The in the "to touch with the eyes and lips*' is recorded expression mid-tenth century.TfV e'i'?TJ^e KUl /XeTeCT^Ke T?? T7)V Kai x LP0<> ?iavoia? XOLpaKTffpo? ?ke?vov ?l? Tff? T?T?T6XV?TOV ovtw? ? t?v vaTT?ixay?xa' ovt(o? b ?wypaQo?. 50. . 48. 6-7." 67. has offered a similar translation in La vie d'Etienne leJeune.164 University 4. 177. 5 vols. 94. Conn. ed. Bekker. and Georges Didi-Huberman. 74-75. the tactile qualities remain. but they no longer form their original sequence. s. and Shrouds ev ?x?q: 43. esp. Jonathan Crary. Immanuel Bekker. Klaus Wessel. no. Subtle Bodies: Representing Angels in Byzantium. 8 (Bonn: Dr. 1968).K: Variorum. 82 (enamel vessels). Transfor mation of the Classical Heritage. 63.555 (saddle and reins). Henry George Liddell and Robert Scott. bk. and ed. U. 777C: r?? tBv imepovpav??ov ovv?fie?ov evTVTrcuTLK?iq cru/ui?oAotc 6K(j)aivea6aL. Treasures of Venice. ton. he has suggested Chalke image was a bronze relief. Dominic University Janes." has been identified In the eyes of outsiders Byzantium correctly as the of Alexander culture of the imprint. 1. 2 vols. 1968). col. Digenis Akritis 7. 37-59. Byzantium in the Iconoclast Era (ca. (Milan: Olivetti. 181: "Whereas the optical qualities disap pear in the dark. Greek Press. Corrigan. between 38. 1960). of Califor 32 (Berkeley: University nia Press. i? TTp ^??K'?fV TwXj]V T?V KOipL?)yL V eOiVTOV 7Tap OT?T?!. fourteen of which display the image in a medallion icon. 74-76. vol. 7 (Aldershot. 623. Visual Polemics. 58. Stuart Jones. 4. in PG. 55. See Antonio Pasini. 160-61. "La destruction 37. 167-71. 1971). 69D. 62 (a belt no. 51. 1998). and The Treasury of San cat.: New York Graphic Society. Visual Polemics in theNinth-Century Byz antine Psalters (Cambridge: Cambridge University Press. trans. Byzantine Enamels from theFifth to the Thirteenth Century (Green cat. The daisy-pattern The medallions frame around the plaque with the cross ismodern. M. 1983). 10-15. KO0710?. 26-27. Greek-English Lexikon. Rudolf Habelt. 64. God and Gold in Late Antiquity (Cambridge: Cambridge Press. KareveyKai XapaKTrfpa irapaot?vPai. 252-55. 44. no. avpa?. 6. 1998). Marie-France Byzantine Auz?py. Only three show a rectangular two of these depict Saint Peter. Grabar. no. 5. ? tttt]<? aakevo?JLevr)<. as are the enamels. "Color and Meaning in Byzantium. and ed. See the recent discussion Nagel of Re "Interventions: Toward a New Model and Christopher Wood. eds. the Soul: Icons. Ibid. The Monastery of Saint Catherine onMount Sinai: The Icons (Princeton: Princeton University Press. 559. Muraro and Grabar. vol. vol.. "The Witness Kiev. Alois Riegl. Basil of Caesarea. Mango. A. 1963). (Chicago: University 45-60. Georges Didi-Huberman. "bronze. 2 vols. Ghada al Hijjawi al-Qaddumi.28-29: t?l Xa iracrTpaTTTOvTa xpoGv etyov 0ak?aar?<. De imaginibus. G. 79 (New York: Con tinuum. 97 (enamel bracelets). trans. 1988). nos. 29 (Cambridge. Lexicographi Graeci. trans. Ka?akkivov eiKoov T?iTXpio-Totr ?vi(TTop7)dr) trapa E?pr)vr?<. 61. with icons. shape. 62.23-27: mroKaTu) / TroiK?kr)v eycov TT)vxpo?v. as the canonical In fact. de Minuit. OTTJATJ KVplOV 7]jJiiuVTTjaO^XpiOT?tT XahK*?? ^\v TC??? TTCip? TOIT KTiad?l& ? de Kecav o TTcnj)p to?T puey?kov Kcjvo-ravT?vov 'H be vvv ?i? if/ri^i?wv bpejpi?viq ravrr)v Kcnr\yayev. Liddell 59. translation. 1996). relying on the evidence of the that the original Life of Saint Stephen the Younger.220-22 (gilded spear with blue enamel). The central plaque Marco 1984). cat. 73-74. 35. ireip?tTai ?pa??iievo? TrapevOv rr}v ? o-7Totiktjv eiK?va XpiaTd??To??(deoi?r}iL&v ri)v iopv?jL6vriv virepdev tQv ?acrikiK?iv ttvXQv. and Kathleen Corrigan. Mass. color and light the more subjec to a great degree on those chance tive ones. Albrecht Berger has also translated the passage using "bronze statue. 60. 2001). Scepkina. 25-26. 1997). Muraro and 1886). Book of Gifts and Rarities: Kitab al-Hadaya wa al-Tuhaf trans. possibly Byzantine. Patriarch Nikephoros. "typos. Cyril Mango Chronicle of Theophanes Confessor: Byzantine and Near Eastern History. The Oxford Classical Dictionary (Oxford: Oxford University Press. Light and Color in Byzantine Art (Oxford: Clarendon 1996). D. An Annotated Survey. the medallion image came to be understood icon of Christ already in the late seventh century. ed. Kai Xpf?p<a' t? y?p ev tyf emp?vela xp?l?a TOVTOv ?if/eic avTika\x?avovTai. 407 and note 28 (referring to the writings of Theodore of Stoudios). Figure and Likeness. both are discussed 122. 113. epigram for the Chalkites odev irepiypatytov ere kol? yp?<?)0)v tOttol?. the Chronographia of Theophanes. For 53. Pliny. 10." Dumbarton Oaks Papers 42 (1988): 1-11. Death Masks. 75." Yet. in Mango. which was replaced after 843 by a Poikila mosaic. Leipzig: Teubner. 42. with a recent revision of the dating of some of these icons in Leslie Brubaker and John Haldon. cat. The second source. 10. Trf? 'Adiqvaias. See Kathleen Corri of John the Baptist on an Early Byzantine Icon in gan.v. (1966. / y?kaKTO? e&TLk?ov xpo?v o? v?pKiaaou ev fiepet. 126-27: Weberi. The icon. On Painting/Leon 1991). Mass. 439-40: VOV CiVTCfi} 6??6V OTnOKJlCtV. lexicon. 1992). Ta / li?v v?)07] v?pKMj&a. Vita Stephani Iunioris. and ed. Cecil Grayson (London: Art and Illusion: A Study of thePsychology of Pictorial Books. Michelangelo Andr? Grabar. 2. Catalogue of Byzantine Coins in theDumbarton Oaks Col lection and in theWhittemore Collection. 52. Natural History bk. ev olcnrep ?i? t?v kql? rrvpi 7] ?yia Xo??. trans. (Venice: F. col. 50ff. Harvard Middle Eastern Monographs. 1990).THE PERFORMATIVE ICON 553 de l'ic?ne du Christ de la Chalc?. Art Bulletin 87 (2005): 403-15. AD 284-813 Press. 39. Liz James. esp. 28. the other the Virgin and Child. Subtle Bodies. no. The Greek word chalkeos (x?AKeos) does not distinguish cop per and bronze. Theophanes. 4. Digenis Akritis. James. 45. the German Library.. Chronographia. no. 2 vols. 1995)." Theophanes. gold vessels). The outside frame is Venetian. Miniatjury Khludovskoi Psaltyri (Moscow: Isskustvo. 219: ev rff keyofx?vxi Xa?Ktf (Leipzig: B. 100: 'ev ToirroL? oiw e^oixnariKO? tff? aip?creaj?. 191. thirteenth century. 2001)." 445-92. 71. ed. no. 126. Hahnloser (Florence: Sansoni. nos.: Ashgate. reprint. ed.. 173-90. simply states: "They also killed a few of the emperor's men who had taken down the Lord's icon which was [set] above the great Bronze Gates.. Ibid. 100. / ev yakr\vr\ Wo o AeijLLwv </>ca?p?<?edakke t?Sv 8?v?po)v 74. 410. Marfa V. no.. De Sancto Spirito 18. Techniques of the Ob server: On Vision and Modernity in theNineteenth Century (Cambridge. 4. I. Question pos?e aux fins d'une histoire de l'art (Paris: ?ditions 1990). (Oxford: Clarendon 41. Gert Schiff. 3. Birmingham and Ottoman Monographs. 65. There are roughly seventeen depictions of icons. Apologeticus pro sacris imaginibus. 17. 163. vol. liey?\ov sense of an icon in metal relief is lost in Mango's and Scott's The Chronicle of Theophanes Confessor. no. catalog entry in // tesoro di San Marco. Cambridge Medieval Classics. esp. naissance Anachronism. R. is dated to the late tenth century. in Barber. 1836). 108-9. See Peers. 680 and Ot 850): The Sources. 3 (Aldershot." The Brazen House. col. 2 (2003): 223-33. 623. 1. J. 108-42. wich. vol. and pearls).45. Catherine (Athens: Ekdotike Athenon. U.239-40 (saddle and bridle). CSHB.: Harvard University Press. 1996). the evolution Power.v. vol. English Lexikon (Oxford: Clarendon and H. Auz?py 193. 1. 1976). 32. KCi? kdOV TTOtkOLTLOV T^f LK?VLT?? (T?)Tr]pO<? ck Totr^apaKTffpo? roi) Trapecrrc?TOLavrtj^' k ? (?xuvt) yeyove The dedv Ka? auyfrfpos thaGjv 'l^aduXpiar?i? keyovaa. Norman Bryson. . 4 vols. ed. Scott. vol. of processions 72. Ernst Gombrich. no. 50. Sinai: Treasures of the Monastery of Saint Manaphes. The reverse side is the cross is part of the original back of the icon. (New York: Pantheon Representation 57. 1997). Todd of Chicago Press. Immanuel Bekker (Bonn: Impensis ed. Teubner. 140-46. Elizabeth Jeffreys. II tesoro di San Marco in Venezia. 828-29: reprint. 1264A. 97. p?oa Te Kai ?ivpaivai' / Ta p??a yff? eTvyxavov Trop(j)vpo?a(j)o<. 73. Icons and 70. t?vto ?ori t? bpaT?v. 141-47. 41 and Robert Scott. Chronographia. Greek-English Lexicon: A Supplement (Oxford: Clar and Anthony endon Press. 56. 89-91. Michaelis Glycae Annales. are out of sequence.C: Dumbarton Oaks. Cormack. and Scott. al The passage is discussed in Liz Press." in Abis Riegl: German Essays on Art History. see Pentcheva." esp. Preger 1901). Birmingham Byzantine toman Monographs. 86 (enameled gemstones. Battista Alberti. 7 (Cambridge: Cambridge Press. vol. 36." tian Studies 11. Treasures of Venice (Milan: Skira. pt. 66. (golden hems enameled with pearls). Vision and Painting: The Logic of the Gaze (New Haven: Yale University Press. ed. 1436. toT$ avQediv aCTTpaTTTCuV. Theodor Scriptores Originum Constantinopolitarum. 40. H. Glenn Peers. Konstantinos ed. 1. 1. and John of Damaskos. Brazen House. Journal of Early Chris Suidae 69. Berger. 1988). vol. and Liddell. Philip Grierson. 12. s. Robin 68. 1.. 131-34. 73 (rock crystal vessels caged in gold enamel. 116.K. 45. Penguin. "Late Roman or Oriental. Fra Ang?lico: Dissemblance and Figuration. Extent and delimitation are thus the more objective qualities. 65. and Kurt Weitzmann. 1992). (1928-38. 1990). 47. Painting (London: Reaktion. 89-125. tovto 8? ?art to 1971). 46. Digenis Akritis 7. in PG. Adler. trans. with gold enamel). Patriarch Methodios. 65-69. and ed.kt? keyerai. 3.: MIT Devant Vimage: Press. "Jeweled inflation" refers to the appropri 54. no. 1996). eds. ed. in PG. Mango. The 42. 1997). Auz?py. The Brazen House. Byzantina. esp. 109-43. Ongania. See also Simon Hornblower Spaw forth. 1977). Untersuchungen zu den Patria Konstantinupoleos. The transverse bands are Byzantine. for the latter depend in which the perceiving circumstances subject finds itself. in La vie d'Etienne le Jeune par Etienne le Diacre. Washing 454-55. 49. lines 64-66. cat. Kal pimoq ev avtQS ov Trpoafjv to Kal ar)p aaTpaTr??JLOp^)o<. 86. Kal 6vpiiqb?a<. Already into spiritual antiquity. Grabar. Rosamond Press. On Byzantine ed. oto?t/v ?vkco? ?e?afjbfxevriv Kal 7r?errjc wpai?rrjToc r?ijL<l>ieo-iJL?voi Treirkripwixevriv. ??KTlVa? . no.T)vevT?)<. ol b? Trabes avtBv xwvoetbeV. Sullivan et al. ?vkai cr piaTiK?dv x^P^v abvvaTov. Biblioth?que de l'Institut Hell?nique et Post-Byzantines 7 (Venice: Institut de Venise. On a twelfth-century a word that conflates fied as ^ei/iei/n]. Photios. Helen C. 16. The Treasury of San Marco. 143 (Coislin 79). God and Gold. suppl. is identi icon from Sinai. Kai votjtS?? acnp?movcrai. Janes. For a similar use and divinity. ?<j>pao-T?)?. d'?tudes 1975). r?bovrJ<. 99. t?/x ?>o?*toV. a(/)pao"To? t/?vtt/to?. 2. Press.Lavdp?)Trivr?<. God and Gold. Trans. "Razyskanija v oblasti russkago du stiha. see 150-51. 26-27. bp iL?vois kpei?ojv r? ?jipbara TTpoai?v kjJLTTLTrX?^jievo^ ?CTT7]K?V. vol. 80. Margaret Mullett. Byzantine 94. 1993). from Aleksandr N. For the scriptural tradition of associating whiteness see Janes. On the orality of Byzantine . the same cussion has focused only on mosaics. of a building written ekphrasis presents and received from the point of view of a subject moving through "Das Raumerlebnis des Naos im Spiegel der Ek space. 5.." Neos Hellenomnemon Spyridon Lambros." 13-24.. kekaToyLT\?x?vr\ Kal KaTeaKevao-fx?vri.Trepir\vya?. ? 7r?vT0)q iraOeTv t?v 0eaTJ)v r? iravrax?Bev to?? Be?jiaToc. Byzantium. "Das Raumerlebnis des Naos. 225-38. 126-31. see also Philae Carmina. aveKk?kr\Toc\ ?vepixiqvevT vor\T?<. with paradise. Oskar Wulff.. I TToptyvpa? deia? a?y?rj? onDAco? to use their draft transla for allowing me thank Alice-Mary Talbot tion. 146-49. KopwfraV. Byz 90. Eve Borsook. 101: 'fk elavrbv y?p tov ovpavbv pL7}8evb<. 87. In fact. Pentcheva. of see Mathew. Evans (New York: Metropolitan of Art. with bibliography. toV. Homily X. Manuelis see Alexander 78. Discussed des icones byzantines du Moyen ?ge. avf&v xpwfx: e<f>epov ev kidois koI fxapy?poic TrokvT??xoLs cocrei ?okal k?av biabr\ixaTa TTavevrrpeireo-TaTa Kal TTOiK?kavrr?pxovTa. 3 vols. On the performative and the Byzantine Beholder." 8 93." 534-35. 1. Pikilia in (ttoikiXiol) has a long tradition in Byzantium. 100. voV? koX koyo? oC bvvaTat ?v$p6)7nve<. Trans." Byzantinische Zeitschrift $? (1929-30): "The Aesthetics of Sacred Space: Narrative. 20-21. 36-46: ??Treip?crTo?. 185. 2004). vol. ibid.. tion in Ekphraseis of Church Buildings. Collection de l'Institut Fran?ais 100 (Athens: Institut Fran?ais d'Ath?nes. a description In Byzantium. again in the discussion see Amy Papalexandrou. no. Sacred Shock. 6. rand. Color and Culture: Practice and Meaning from Antiquity toAbstraction (Boston: Bulfinch Press. 92.evov to oiKeTov <j>avT??eTai Tr?BiqfjLa." For this icon. 97. Mango. 185. and the link it preserved between imperial power and divinity. (Paris: Mus?e du Louvre/?ditions Hazan. cr<f>?8pa crty?bpa ?jlt] <f>ai8poT?Tiqv \moK???xevai ?pidpA$." Jahrbuch der ?ster Painting: A Refutation reichischen Byzantinistik 52 (2002): 271-85. nature of epigrams.oXo? kKTTeTrXr\yixevo<. figs. ci ?paxeioves avrtSv Kal ci b?KTvkoi. Ga (Auxerre silk). 149 Metropolitan see also Danielle For Auxerre. 23. t?JSvxpvo~o<j)av?j5v eKeiv v irkaKBv vTff\pxov <j>vr? apixov?ais v (?pai s k^r?vdLO-jxeva T?avTt??a tBv r\bvrrv?(x)v Kal ?ykaoKap TTe(f)VTovpyriii va. ovvokov. The connection the icon and the Davidic Psalms will appear between of the sense of taste. Light and Color. Kai toT? TToXvp.. see 139-52.?voi ?wvaq K T?&ovpaviov (ocnrep kcjpovs to?ov tt]v evxpoiav KeKTrux?vov? Kal airao-TpaTTTOvTac. in Photiou Homiliai. see Wulff. ?K y?kaKTO? oit? (frvpa??vTos KaTao-ev?ada?. axnrep e? r)kiaKr?<. Stamatina McGrath. 84-86. usually only the to receive Communion patriarch and the emperor would continue directly from the chalice. "Byzantine Communion Spoons: A Review of the Evidence. 89." Dumbarton Oaks Papers 50 (1996): was re 209-38. irka?l. see Pentcheva. tc Kai ?v K?iT)'yf/T?)?. Wixom. purple. 3. 42: Eio-r?k0oiiev eis Tiva irepiavkov ??vov Kal iravTekSs k^rjkkayfjb?vov Kai r\v to b?irebov avro?r e^aarp?irrov.554 ART BULLETIN VOLUME LXXXVIII NUMBER 4 ation of imperial splendor in church ritual in the course of the fourth century. as Expressions 84. 107-17. aKtTvos Kai o>? k ?ixraov al be ?k [ivpio?a^cov a?ykr)v acrTpaTTTOwai. 159-65.. Trahoulia. biavo?as tt\v evocrpXav. Political power in Byzantium translated into the fullness of sensual delight. eds. 76. ?v?K<f>pacrTO<. 20. 4-5. koj akademii nauk' 46 (1889-90). On the wandering gaze in ekphraseis. For the association of gold and green see Janes. V. cat. 77. 1. John Gage.?e?ir}Ku)<. ed. 4. Laourdas. 74. 50.. Photios. vol. Trans.Qai\ odaai ?>? ai T/?iaKai aKTTve?'. bir\yr\o~ao. 83. For the association of purple with gold 1759-60. So far. 243 Museum 51. ibid. On the concept of the moving eye in extramission. and Mo Webb. Kal avTr\ r\v ?k kiOov o~iLap?ybov oip??ox. evfypocrvvr) Kal eimp?rreLav T Kal T)bovr)V yk?)craxi ?vdpo)7rivxi ?ovyKpLTOv wpat?TT/T? /XVptOjLLtKTW? y??m? avT?KOVO~TOV. 25. and Franses. Denis Sullivan. Hetaireias Spou Makedonikon don. k?yos ?p?Teis bir\yecrao~Bai'y ?ireipo?." "Writing in Early Medieval McKitterick (Cam Literacy in Early Medieval Europe. Yet enamel presents polymorphous glitter and privileges dazzle over hue. 88. the chalice's exquisite synesthetic experience served for the select few. Trans. and Franses." Sbornik' Otdelenija russkago jazyka i slovesnosti Imperators hovnago Vita Basilii (henceforth. Enamels. Vita Basilii Iunioris. 84-86. with the The Art of the Byzantine Empire. Thus. Sullivan et al. and Du Byzantines Hell?nique Icon Revetments. by the late tenth and early eleventh centuries. epigram's on Icons.. 96. TToiKiX?a ?iaCerai ei? avrb t? bp(?p. ?vep[Xf}V VTOV Kal O?KOX? ?v pp. ibid. 81." Dumbarton Oaks Papers 53 (1999): 59-74. 776D. Peers. kvxvi>TO?CbiKal <W??? ?k iravTwv TBv evTijxojv kiO v Kal xpvo~6iv tQv ck toI? irapabeiaov k?epxojJL?vcjv Kal b?xoio^>epeV. A. "Precious-Metal "Epigrams on Icons". see Pentcheva. and transparency 99. Mango.. 100. ovbel? bvvaTai ctKaTav?riTo?. in PG. 1967). 531-39. 72-73. ed. "Epigrams on Icons. ordinary body remains were transformed environments. 98. ed.. ?d?aTov. catalog entry in Hahnloser. Janes. y?p otKeiai? ovvex?crL KLvqaecriv. 37. jects (relics) by being staged in sensually enhanced "'The Little Blue Flower Is Red': Relics and Patricia Cox Miller. La France Romane au temps des premiers Cap?tiens borit-Chopin. aireipov Trkr)povp. on the nature of cherubims.D. kevKol &el x??v. and Jannic Durand. 101. 1 (2002): 3-18. "OMapKiavos k&?l? 524. Metaphor. physical Idea. Patriarch Nikephoros col. Icon Revetments. 91. to elvai kol? avrb irepL?iv??&dai kvrevOev r? re ?XXa ev eKcrravei Kai Kal 7rai^To?a7raT^ irepicrTpo^aV. of Heresy in a Sinai Icon. ?o-TpairoeubeV. Eikones tes mones Sina. 39: 'Air?pavTes oltv 6K T0ev km r?? T??v ayi&v crevas avrai be rjcrav irokkal eiTopevdrjixev." Here. crel ?X??'ol TTpoKeifievoi bi?xpvo'oi kKTrefXTTOvaa(fxoTo?okovs. and Ruth phrasis. 43: eyyiora Tp?ire?a jmey?oTTfTrr?xe(?v Tpi?Kovra. d'?tudes Byzantines et Post-Byzantines. nos.. 156-85. ylverai. "When All That Is Gold. 12 (Thessaloniki: Hetaireias 1959). 1990). The Glory of Byzantium: Art and Culture of the Middle Byzantine Era. koli 7rpo? eaur?? kiricrTpefyovcrai ?? odrrep r?? ?ipeis ovv?xovcrai ovK kdeXeiv iroidvcrai tov ?earrjv irpo? r? iL Tax(opr}aai toV KaXXd?? Oeajutaro? ? ?XX' kv otvr? irporepiev?o-fiaTL kvS?repa. . 2 vols. II tesoro di San Marco. Kai toV. On the creation of the visual equivalent of this genre "Visual Textuality. James. s. For a discussion prayers. Kal avekbir)yr\Tov ?KaTavor)To? aicrdr)o. antine Aesthetics. late ob See the 213 86. and Wessel. 843-1261 (New York: Museum of Art. 44-45: 01 b? vrn)percfvVTe<s avroV. "Epigrams aspect and circular performative I am concerned structure. vol. in Uses of 102. of Meta "Rhetoric and Reality: Mosaics des kunsthistorischen Instituts in Florenz 44. God and Gold." "Text in Context: Eloquent Monuments Word and Image 17. veavicTKOL (?pd?Oi iraw kivyxavov. 3-89 Iunioris). KpaTeTcrdai irap? ?pprfro?. the dis 39-64. 128. ?jnr)Oa?ji?dev kp. irepLe?(uo~p. ed.(x)v Ib?ai eTreKeivro. vol." Mitteilungen no.?p<\>oi<. em be toV. and Nicolette "The Truth in 125-28. esp. 129-30. no. ed. Oxford Dictionary Kazhdan. 101: Spoudon. 84. 73. 79. kv k?yq> ?(j)paaTov." 13-24. / ev tjt? (f)vT?:TexvLKB? rfpfxoo-fx?va / boKoVcri KVKkoVv Tf/? JE??p< t?v in Andr? Grabar." 247. Evans and William D. See Pentcheva. ." in Byzantium: Faith and Power. Les rev?tements en or et en argent epy?TT\v. Makedonikon in Photiou Homiliai." Journal of Early Christian Studies 8 (2000): Poetizing 36. Trans. 7rpoo"?>7roi?.. God and Gold. Vesselovskji.ev amo. 72-74. For porphyreos and pyravges. sec. Homily X." of literature in the twelfth century. Robert Taft. 1997). kiMTpoa?dvPToc Kai iravTax?dev K?XXecriv <w? aorpoi? wrofyaivoyLevois AoKeT?? Xonrbv TTepiXa?j?TTOixevo<. 1261-1557. 65-66: Xpv&ffv de pG? tt/i> JE?e/x Tff? eiK?vos. 100. 85. 121. d'Ath?nes. see George Sotiriou and Maria Sotiriou. "Precious-Metal with paradise in late antiquity. 3 (2001): 259-83. Helen C. an image of the Virgin 82. of the Body.. The Art of the Byzantine Empire. eveubeV. 30. 179-85. w? ?v Tt? euroi k?kklvov tovtov? ib?)v. Byzantium. Sullivan et al. the roots of both "to alloy" and "to freeze. 1991). 28. 95. vov TrepiKeKO(T?jLr)iJL xpwaV. and Alice-Mary Talbot. ev be toV. voi. ?HTTTep Tt? kppL???lx?vO? T? QOLVILOLTI 89. b? tQv ?v?biov avrBv loraTo Sullivan et al. 3. (987-1152) 2005). of the role of these metric (1911): nos. 109. Greek-English Lexicon. 1956-58). no. 104. the entries in Liddell and Scott. esp.. See also "When All That of the dazzling effect of gold to emphasize power 89.. Emmanuel Miller (Amsterdam: Hakkert. sec. (Oxford: Oxford University with bibliography. Is Gold. TravT?Ta ?wv Kal p?bcjv kv oo-<f>pr)cr i Kal v?crp. University bridge: Cambridge 103. 90 (Leiden: Brill." Lire et ?crire ? Byzance. vey. Harvey will offer an extensive study on the role of scent in late antiquity in her forthcoming Scenting Salva monograph. Harvey. 42. Ephrem. and idem. Similarly. ?O?q)ar? fian Tairrr\v irpocrfiyaye rfiya?e (oairep pb?ov ?pTi Trpbo~(?Trov avroV Kal ?ri rrXeov kXap.-J. ed. Graz: Akademische 1958). 9-10 (Bonn: Impensis ed. Kp?KOv. in Elizabeth Dawes and Norman H. See n. Kal t@ <j)?)To?bXov KvXiKa. Byzantina Sorbonensia. His in the mid-eighth interpolated theory brings the date of the text closer to the context and use of the S. see Classen et perception al. Constan tine Porphyrogennetos. Thompson. Hagiographica. Marco enamel icon.-J. 33:8: "Taste and to the conclusion 125. 105. Constantine Porphyrogennetos. 120. 123. On Phenomenology . Vita Theodori Syceotae. Patristic Greek Lexicon (1961. see also Charles Du ?jLVp?criiaTakoiu?." 269-70.TO Tff? KOUV?f??taOTJKTJ?T? VTTepVp. nales: Histoire et Sciences Sociales 4. of Givenness. Kai Tff? ?xeXixp&s oifs kpLcfropeTtrdai creipijVoc. "Wunderheilige und Bilder: Zur Frage des in Poikila Byzantina. 104 above. 115. Bibelstiftung. (New York: Harper guage.. The Treasury of San Marco. Being Given: Towards a 127." (Bonn: Dr." in Poetry. cat." ett Ferguson. Classen." 425-26. esp. reprint. Vie de Th?odore de Syke?n. TTpoa?xovTi Kal 8eo???v?).THE PERFORMATIVE ICON 555 literature. Hapap. 255-70. 96). Oxford: Clarendon Press. 179. Festugi?re. kvavTevi?c?v toV. "Le Byzantinische Zeitschrift 95. 111. 95. Trans. reprint.r]pLOv ev akeiTTT?. 1. 81 above. Supplements 1998). "St. ed. See nn. Subsidia 112. On the contemporary of power and smell. An rossignol et l'hirondelle: and Mullett. the modern utopia created by Hollywood is "totally inodorate. see that God is good. De ceremoniis aulae byzantinae. Glossarium ad scriptores mediae et infimae graecitatis (Lyons: Anis son. and idem. Stuttgart: Deutsche 116. 438 (bk. Weberi. The translation comes from the King James Version. 118. R. "Byzantine Art vsWestern Medieval Art. 1971). . in the Medieval World. 1.. This follow the text and num and the following biblical quotations (1935. Kal ^vkoKLvv?pLCjpiov. de 21 (Paris: Publications la Sorbonne." in Byzance et le monde ext?rieur: Contacts. Actes de trois s?ances du XXe Congr?s International des ?tudes Byzantines. trans. Kal T&v kp. Susan A. 62. Festugi?re. (xao-T?xr)v. 2 (2002): 423-44. the saturated see Marion.. "Incense Offer in Ancient ings in the Syriac Transitus Mariae. Thought. On 110. tion: Ancient Christianity and the Olfactory Imagination.. et cot? MCCIX parmi les mansucrits les Opuscules grecs et contenant letters anecdotes de Th?odore l'Hyrtakc?nien. "Trace per una storia d?lia lettura ? idem. Image and Imagination and James. 8e t? to?j meTv. Byzantium. 59-71. Jo hann Jacob Reiske. t tf XP0La irornpioi? KLpv?fievo? kpvOp? TJVpaK?o~iiaTi Xiav evTrvpio? aTrao-TparrTC?v. Kal birr?v?Ka rt? avTc5v ?m x??jt>a? k???aTo ttjv dav?iaaT7]v eKe?vr\v Kal Tr TrXr)pa)pi?vr?v. Byzantinae." "Byzantine Art vs Western 124. KaTrv?crjxaTa Oi?^opa. ed. relations. en Occident. 1991). ed. "Trace per Translated Tj^oiT?. Vita Basilii Iunioris. 155-58. Transformation of the Classical Heritage. phenomenon. 122. ed. 159. apuTrap. 1948).fxeXBv a.KpO?to~Bai <$>Qbyyo)v Tff? dva?iacr?aq into Italian and discussed in Cavallo." on writing and drinking (letter no. 119. 114. Corpus Fontium Historiae Akademie der Wissenschaften. vol. 160 (bk.iqv. 13. 108." "Writing in Early Medieval above. and James to Novum Testamentum. 1829). "The Origin of the Work of Art. 2005). 1 (1998): 109-28.i?v KO. For an anthropological point of view. Alfred Rahlfs bering of the Greek Septuagint." see Guglielmo Cavallo. Varia III Beginns der Bilderverehrung. ed. Michel Balard et al. 245-46. avrbv cr? ?Xeireiv T)yo?p. the role of orality in Byzantine literature. of California 42 (Berkeley: University Press. Reiske. Conforming Medieval Art. Vie de Th?odore de Sykeon.. Sullivan et al. For the specialized Cange. A. Mullett. Albert Hofstadter and Row. See also Cavallo. Theological Studies 48.I iroXXGv eKXvv?pLevov et? ?^eaiv appuaTiBv. cr?xap." 426. Haldon. bk. Martin of Nelson. Constantine VII Porphyrogenitus: Three Treatises on Imperial Military Expedi 28 tions. see Classen et al. 1688. Aroma. in Fran?ois Jean Gabriel de la Porte-du 107. ." Numen 49 (2002): 193-211. discusses Symeon "Writing in Early Medieval Byzantium. Tc$Xpio~T<$airo Tff? ?opa? eKeiviq? evK?X??s Kal etyiadid? ?ireo'T'qdL^e to ipaXTr?piov. Speck. 48 (Brussels: Soci?t? des Bollandistes. 19-25 ao?t 2001.. CSHB. 2001). Three Byzantine Saints (Oxford: B. Subsidia Hagiographica. 28). 1970).eTaXa?oiv Tff? or?/mcm avrcfi?. 1994). 1935). and ed. Druck. 1970). ed. 113. 163-247. 2 vols." Notices et Extraits des et Autres Biblioth?ques 6 (1800): Manuscrits de la Biblioth?que Nationale 1-48. On see Har the association of perfume with salvation and paradise. 88-89 106. "St. Rigaud. trans. 161-79. "Art and Lies: shaped the imagined realm of paradise. Ephrem on the Scent of Salvation. John F. 156-85. ?vkakor)v vyp?v Kal ?. 121. On the connec tion between odors and dreams and the imagined world of the be yond. no. Aroma: The Cultural History of Smell (London: Routledge. chap. Baynes.r\p?v. yp?pifxacnv. v?KTapo? api?pocriac .. fi?crxov. kv bXiyai? Tj/x?pai? airav avrb eKpiadcjv." "The Scent of a Martyr. 5 (2001): 849-61. 89) and John Mavro Metaphrastes (letter no. Geoffrey Lampe. 16: Iltere e? avrd? navres' T?VTOpuOi) kcTTlTO ?LjUL?. 199 -221. Abraham Malherbe. esp. Bisanzio. una storia della lettura ? Bisanzio. trans. 126. reprint. and Anthony Synnott. Lan Heidegger. no. no. Theodore Hyrtakenos. i) adeTo yXvKvrr)Ta r)8vrepov jut??lto? kyxvd?ttrav kv rQ To?Tdeo?r Kal p. see n. chap. 48 (Brussels: Soci?t? des Bollandistes. 36. dv?jiia?jba." Journal of 117. KLvv??x(?fxov akr)Qiv?v TTp?dTovKal bevrepov. For an excellent analysis revealing how the lavish imperial ceremonial see Liz James. A. quoted "Notice et extraits d'un volume de la Biblioth?que Theil. existing only in the sensory domain of sight and 175. tG>v KaXvK(ov vire?eXdc?v. Septuaginta. (Vienna: ?sterreichischen 1990)." fragrance of the Byzantine and the concomitant imperial and liturgical ceremonial image of par adise." in Eastmond Text. De ceremoniis. Blackwell Press. Pss. "Incense Offerings". Kal TfjeiKbvi To?rX(uff?po<. and Suzanne Evans. 11: 'Avaor?im yo?v avrt$ 6K toV e??Qov?. Ritual and Knowledge in The Early Church and Its Context: Essays inHonor of Ever Christianity. Nationale. 11. 75: 'Eyc? 8'. Icon and Word. in contrast to the complex hearing. Frederick Norris. ?changes. Posuel. 1). Paris. 11. 'O 8? yvov? rrfv x?nv yXvKVT7)Tos Kal vxapio-Tr)0~a<. Paul Speck has contested the seventh-century date of the passages about icons in this life and argued instead that these references were or early ninth century. 2006). 468: 108-9. ed. Habelt. Robert Nelson. 109. see Constance David Howes. ki?avov. terms. "Trace per pous on writing and music una storia della lettura ? Bisanzio. 44: ??v 8e b krrl t?ls ?vXoi? eKeivoL? rfXio^eyyecn oivo?.7rpvveTo. 175-91. Aroma. no. letter no.