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    Depicting Orthodoxy in the Russian Middle Ages: The Novgorod Icon of Sophia, the Divine Wisdom

    Depicting Orthodoxy in the Russian Middle Ages by Kriza, Ágnes;

    The Novgorod Icon of Sophia, the Divine Wisdom

    Series: Oxford Studies in Byzantium;

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    Product details:

    • Publisher OUP Oxford
    • Date of Publication 28 April 2022

    • ISBN 9780198854302
    • Binding Hardback
    • No. of pages386 pages
    • Size 240x162x24 mm
    • Weight 788 g
    • Language English
    • Illustrations 105 colour figures
    • 199

    Categories

    Short description:

    This volume offers an interpretation of the image of Divine Wisdom, traditionally associated with the Sophia Cathedral in Novgorod. Kriza argues that the figure stands for the Orthodox Church, in response to events in the fifteenth century.

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    Long description:

    The image of Divine Wisdom, traditionally associated with the Sophia Cathedral in Novgorod, is an innovation of the fifteenth century. The icon represents the winged, royal, red-faced Sophia flanked by the Mother of God and John the Baptist. Although the image has a contemporaneous commentary, and although it exercised a profound influence on Russian cultural history, its meaning, together with the dating and localisation of the first appearance of the iconography, has remained an art-historical conundrum. By exploring the message, roots, function, and historical context of the creation of the first, most emblematic and enigmatic Russian allegorical iconography, Depicting Orthodoxy in the Russian Middle Ages deciphers the meaning of this icon. In contrast to previous interpretations, Kriza argues that the winged Sophia is the personification of the Orthodox Church. The Novgorod Wisdom icon represents the Church of Hagia Sophia, that is, Orthodoxy, as it was perceived in fifteenth-century Rus. Depicting Orthodoxy asserts that the icon, together with its commentary, was a visual-textual response to the Union of Florence between the Catholic and Orthodox Churches, signed in 1439 but rejected by the Russians in 1441. This interpretation is based on detailed interdisciplinary research, drawing on philology, art history, theology, and history. Kriza's study challenges some key assumptions concerning the relevance of Church Schism of 1054, the polemics between the Greeks and the Latins about the bread of Eucharist, and the role of the Union of Florence in the history of Russian art. In particular, by studying both well- and lesser-known works of art alongside overlooked textual evidence, this volume investigates how the Christian Church and its true faith were defined and visualized in Rus and Byzantium throughout the centuries.

    This book underscores the value of engaging with textual and visual sources in historical analyses and highlights the innovative output in local contexts relative to competing traditions in the late Middle Ages. Beautifully produced and richly illustrated with color images throughout, this book brings attention to the history and culture of a part of the world that remains to be thoroughly explored-that is Eastern Europe and the Slavia Orthodoxa-while offering a model for how other perplexing iconographies could be deciphered, localized, and contextualized with the help of interdisciplinary perspectives.

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    Table of Contents:

    Introduction
    PART I. WORD
    The Icon and its Commentary
    The Winged Bride: Quotations in the Sophia Commentary
    Medieval Russian Sophiology: The Context of the Sophia Commentary in the Manuscripts
    PART II. IMAGE
    Representations of Wisdom in Rus
    The Novgorod Sophia as a Deesis
    Sophia in the Womb of the Virgin
    PART III. IDENTITY
    Slavonic Sophia Churches and the Schism of 1054
    Leaven and Byzantine Marian iconography
    Depicting Orthodoxy in Rus
    PART IV. HISTORY
    Sophia, the Divine Wisdom and the Union of Florence
    Evfimii II, Archbishop of Novgorod
    The Hagia Sophia in Rome
    Conclusions
    Appendices:
    Critical Edition of the Sophia Commentary with English Translation
    Table 1: The 'Sophiological Block'
    Table 2: The 'Sophiological Synthesis'
    Catalogue: The Iconography of the Novgorod Sophia in the Fifteenth and Sixteenth Centuries

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