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Makers, Methods, and Materials 制造者、方法和材料
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0006
R. Ousterhout
Early Christian architecture inherited a well-established building industry and followed in the tradition of Roman architecture, as defined by Vitruvius in the first century BCE. Architects were identified by title as mechanikos or architekton, indicating their level of training. With the official acceptance of Christianity, the emperor or the state took a leading role in patronage. Documents mention project supervisors, government overseers, and accountants, as well as skilled and unskilled laborers.
早期基督教建筑继承了一个完善的建筑工业,并遵循了罗马建筑的传统,正如公元前一世纪维特鲁威所定义的那样。建筑师的头衔是mechanikos或architekton,表明他们的培训水平。随着官方对基督教的接受,皇帝或国家在庇护方面发挥了主导作用。文件中提到了项目监督员、政府监督员、会计以及熟练和非熟练工人。
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引用次数: 0
The Basilica Transformed 改造后的大教堂
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0010
R. Ousterhout
A unique achievement in the history of architecture and the major monument of Byzantine architecture requires detailed analysis to understand its historical context, planning principles, structural systems, aesthetics, and symbolism. The Great Church was designed quickly—as some unresolved design features and structural flaws reveal—but it was intended to be unique in form and scale, meant to symbolize the dominion of the emperor Justinian, as his army reconquered lost territories in the East and West and in North Africa.
作为建筑史上的独特成就和拜占庭建筑的主要纪念碑,需要详细分析以了解其历史背景,规划原则,结构系统,美学和象征主义。正如一些尚未解决的设计特征和结构缺陷所揭示的那样,这座大教堂的设计速度很快,但它的形式和规模都是独一无二的,它象征着查士丁尼皇帝的统治,因为他的军队重新夺回了东方、西方和北非失去的领土。
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引用次数: 0
Development of Regional Styles II 区域风格的发展2
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0019
R. Ousterhout
The masonry architecture of Anatolia is less well preserved than that of Greece, but an analysis of the surviving buildings indicates an interaction between Constantinople and the local centers, evident in the construction techniques and decorative details. In central and eastern Anatolia, contact with Caucasian is evident. Better evidence of Byzantine daily life is provided by the rock-carved settlements in the rough volcanic highland of Cappadocia. Although they appear to replicate masonry forms, the inventiveness of the Cappadocian artisan is often evident in the willful deviations from a masonry prototype.
安纳托利亚的砖石建筑保存得不如希腊的好,但对幸存建筑的分析表明,君士坦丁堡与当地中心之间存在着相互作用,这在建筑技术和装饰细节上很明显。在安纳托利亚中部和东部,与高加索人的接触是明显的。卡帕多西亚崎岖的火山高地上的岩石雕刻定居点为拜占庭人的日常生活提供了更好的证据。虽然他们看起来是在复制砖石的形式,但卡帕多西亚工匠的创造力往往在对砖石原型的故意偏离中表现得很明显。
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引用次数: 0
The Transitional Period within Byzantium 拜占庭的过渡时期
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0012
R. Ousterhout
The economic downturn that followed the death of Justinian in 565 was followed by significant loss of territories, including the collapse of the Balkan frontier and the loss of North Africa and Italy. In the East, Byzantium continued to struggle against the Persians and, after 634, the Arabs. Within Byzantium, society was disrupted by the so-called Iconoclast Controversy (726–843). Until the late ninth century, there was limited architectural production, on a reduced scale.
565年查士丁尼去世后,经济开始衰退,随之而来的是大量领土的丧失,包括巴尔干边境的崩溃,北非和意大利的丧失。在东方,拜占庭继续与波斯人以及634年后的阿拉伯人作斗争。在拜占庭,社会被所谓的圣像破坏之争(726-843)所扰乱。直到9世纪晚期,建筑生产有限,规模较小。
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引用次数: 0
Ritual Settings II 仪式设置II
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0005
R. Ousterhout
How did the church building become sacred space? This chapter examines the second model: sanctity as represented by the presence of relics or the tombs of martyrs and saints. The popularity of the refrigerium in the fourth century provides ample testimony to the attraction of the tombs of saints and martyrs to the early church. And although the official celebrations ad sanctos were terminated by the end of the century, the cult of saints continued, finding an outlet in the practice of pilgrimage and the veneration of relics. While both were accepted customs, neither was officially sanctioned by the church. They may be best understood as manifestations of popular piety or of private devotion, satisfying the spiritual needs of the individual.
教堂建筑是如何成为神圣空间的?本章考察第二种模式:圣物或殉道者和圣徒的坟墓所代表的神圣性。冰箱在四世纪的普及充分证明了圣徒和殉道者的坟墓对早期教会的吸引力。尽管官方的庆祝活动和圣礼在19世纪末终止了,但对圣徒的崇拜仍在继续,并在朝圣和对圣物的崇拜中找到了出路。虽然两者都是公认的习俗,但都没有得到教会的正式认可。它们最好被理解为大众虔诚或私人奉献的表现,满足了个人的精神需求。
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引用次数: 0
Regional Diversity 区域的多样性
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0027
R. Ousterhout
With the weakening of central authority, distinctive regional styles emerge in the Balkan states. Serbia relied heavily on Byzantine styles and Byzantine craftsmen in the early fourteenth century but by the end of the century had developed a distinctive national style, often called the Morava School. Bulgarian architecture maintained close ties to Constantinople, but with a greater emphasis on the decorative features of the exterior. Romania, a latecomer on the scene, found its initial architectural inspiration in Serbia; the region of Moldavia developed a distinctive church architecture with its exterior walls decorated with fresco. Church architecture continued in all these areas to serve the Christian communities after the Ottoman Conquest.
随着中央权力的削弱,巴尔干国家出现了独特的地区风格。在14世纪早期,塞尔维亚严重依赖拜占庭风格和拜占庭工匠,但到14世纪末,塞尔维亚已经形成了一种独特的民族风格,通常被称为摩拉瓦学派。保加利亚的建筑与君士坦丁堡保持着密切的联系,但更强调外部的装饰特征。罗马尼亚是一个后来者,最初的建筑灵感来自塞尔维亚;摩尔达维亚地区发展了一种独特的教堂建筑,其外墙用壁画装饰。在奥斯曼帝国征服之后,这些地区的教堂建筑继续为基督教社区服务。
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引用次数: 11
Exporting a Culture/ Importing a Culture 导出文化/导入文化
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0023
R. Ousterhout
The new political entities established in the East during the late tenth through twelfth centuries were heavily indebted to Byzantine culture. Christianized from Constantinople, Kievan Rus’ lacked a building tradition in permanent materials and imported both masons and brick technology from Byzantium. Serbia and Bulgaria had a strong Byzantine presence before securing their independence. While Bulgarian architecture followed closely that of Constantinople, Serbia, connected to Adriatic littoral, blended elements of the Italian Romanesque with Byzantine forms.
10世纪晚期至12世纪在东方建立的新政治实体深受拜占庭文化的影响。基辅罗斯从君士坦丁堡基督教化,缺乏永久性材料的建筑传统,并从拜占庭引进了泥瓦匠和砖技术。塞尔维亚和保加利亚在获得独立之前都有强大的拜占庭势力。保加利亚的建筑紧跟君士坦丁堡的建筑风格,而与亚得里亚海沿岸相连的塞尔维亚则融合了意大利罗马式建筑和拜占庭式建筑的元素。
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引用次数: 0
Justinian’s Building Program and Sixth-Century Developments 查士丁尼的建筑计划和六世纪的发展
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0011
R. Ousterhout
Described in detail by Justinian’s court historian Procopius, Justinian’s building program focused on the center (Constantinople) and the periphery (the limes). Within church architecture, the dome appears as an experimental element structurally, formally, and symbolically. At the same time, traditional architectural forms continue. At the margins of the empire, Justinian’s program of fortification was coupled with spiritual outposts—churches and pilgrimage sites—to spread the message of Orthodox Christianity.
查士丁尼的宫廷历史学家普罗科匹厄斯详细描述了查士丁尼的建筑计划,主要集中在中心(君士坦丁堡)和外围(莱姆斯)。在教堂建筑中,圆顶在结构上、形式上和象征意义上都是一个实验性的元素。与此同时,传统的建筑形式得以延续。在帝国的边缘,查士丁尼的防御工事计划与精神前哨——教堂和朝圣地——相结合,以传播东正教的信息。
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引用次数: 0
The Difficult Thirteenth Century 艰难的十三世纪
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0024
R. Ousterhout
A map of the thirteenth-century Mediterranean is almost impossible to draw, with an ever-shifting balance of power and an increasing number of players, as well as cultural interchanges across often hostile frontiers, and this may be reflected in the complexities in the architecture, with new forms developed from heterogeneous sources and cultural interchange between Byzantines, Crusaders, Seljuks, and Armenians. Complexity was not simply the result of cultural interchange or hybridity; rather, it seems to have been an aesthetic choice—one that resonated locally. While betraying larger concerns and associations of the period, the distinctive architectural forms had a special meaning to a regional audience.
十三世纪的地中海地图几乎是不可能绘制的,权力平衡不断变化,玩家数量不断增加,文化交流跨越经常敌对的边界,这可能反映在建筑的复杂性上,新形式从异质来源发展而来,拜占庭人,十字军,塞尔柱人和亚美尼亚人之间的文化交流。复杂性不仅仅是文化交流或混杂的结果;更确切地说,这似乎是一种审美选择——一种在当地引起共鸣的选择。虽然背叛了这个时期更大的关注和联系,但独特的建筑形式对当地观众具有特殊的意义。
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引用次数: 0
Rival Powers 竞争对手的力量
Pub Date : 2019-12-12 DOI: 10.1093/oso/9780190272739.003.0028
R. Ousterhout
Following the Ottoman conquest of Constantinople in 1453, Moscow ascended as the center of Orthodox Christianity, styling itself the “Third Rome.” While influenced by Italian architects and indigenous developments, later Russian architecture reflects the picturesque complexities of the Late Byzantine style. The Ottomans settled in Byzantine territory and relied on Byzantine masons to construct their earliest mosques. With the conquest, they began a competitive discourse with the Byzantine past, turning to the monumentality of Hagia Sophia as their chief source of inspiration. While both the Russians and the Ottomans looked to the Byzantines, their architectures developed in very different ways. Nevertheless, both might be regarded as Byzantium’s legitimate successors.
1453年奥斯曼征服君士坦丁堡后,莫斯科成为东正教的中心,自称为“第三罗马”。虽然受到意大利建筑师和本土发展的影响,后来的俄罗斯建筑反映了晚期拜占庭风格的风景如画的复杂性。奥斯曼人定居在拜占庭的领土上,依靠拜占庭的泥瓦匠建造他们最早的清真寺。随着征服,他们开始与拜占庭的过去进行竞争,将圣索菲亚大教堂的纪念性作为他们灵感的主要来源。虽然俄罗斯人和奥斯曼人都向拜占庭人学习,但他们的建筑发展方式却截然不同。然而,两者都可以被视为拜占庭的合法继承者。
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引用次数: 0
期刊
Eastern Medieval Architecture
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