COVER    |    IMPRESSUM    |    CONTENTS (.PDF)    |    ABSTRACTS (.PDF)

 

Davor Džalto: Icons – Between Images and Words. Modes of Representation or Modes of Being?

Alexei Lidov: Iconocity as Spatial Notion – A New Vision of Icons in Contemporary Art Theory

Hieromonk Silouan Justiniano: The Degraded Iconicity of the Icon – The Icon’s Materiality and Mechanical Reproduction

Maria Vassilaki: Painting Icons in Venetian Crete at the Time of the Council of Ferrara/Florence (1438-1439)

Olga Gratziou: From Heaven to Earth – Perceptions of Reality in Icon Painting

Zoraida Demori Staničić: Miraculous Icons in Dalmatia

Maria Cristina Carile: Imperial Icons in Late Antiquity and Byzantium – The Iconic Image of the Emperor Between Representation and Presence

Jelena Erdeljan – Branka Vranešević: Eikōn and magic – Solomon’s Knot on the Floor Mosaic in Herakleia Lynkestis

Maria Lidova: Empress, Virgin, Ecclesia – THe Icon of Santa Maria in Trastevere in the Early Byzantine Context

Ashley Elizabeth Jones: Icons of Power – The Late Antique Imperial Portrait as Image and Amulet

Gaetano Curzi: The Two Triclinia of Pope Leo III as “Icons of Power”

Sotiria Kordi: Corporeal Perceptions of the Immaterial – Agency and Rhythm in Palaeologan Monumental Painting

Donald Ostrowski: The Last Supper in the Illustrated Chronicle Compilation (Litsevoi letopisnyi svod)

Isolde Thyrêt: The Icon as a Medium to Construct a Saint’s Image – The Earliest Icons of Saint Nil Stolbenskii

Snežana Filipova: Examples of Icons with Western Influences in Iconography in the Art of Macedonia – Case Study of the Icon Virgin with Child (inv. no. 81) from the Ohrid Gallery of Icons

Svetlana V. Cheloukhina: The Arkhyz Savior – A Rock-Wall Icon in Nizhnii Arkhyz (Karachay-Cherkessia, Russia)

Dmitriy Antonov: Hair on End – Demons and Sinners in Old Russian Iconography

Valentina Živković: The Deathbed Experience – Icons as Mental Images. Preparations for a Good Death in Late Medieval Kotor (Montenegro)

Michael S. Flier: The Baptism of Christ in Muscovite Iconography – Tradition and Innovation

Giuseppe Capriotti: Defining the Boundaries of the Lawful Cult – History of an Adriatic Icon

Lasse Hodne: Aeiparthenos – Metaphors and Symbols of Virginity in Italian, Dutch and Byzantine Representations of the Annunciation around 1400

Claudia Cieri Via: The Invisible in the Visible – The Annunciation by Antonello da Messina from Narrative to Icon

Deborah Walberg: Tradition and Propaganda in the Venetian Madonna della Pace

Laura Stagno: Embedding Byzantine Icons in Post-Tridentine and Baroque Splendor – Reception and Celebration of Eastern Cult Images in the Republic of Genoa in 16th-18th Centuries

Ana Šeparović: Icons and Croatian Painting in the Early 20th Century

Branka Gugolj — Danijela Tešić-Radovanović: The Žiča Altar Screen Icons

Charlotte Gill: A “Direct Perception of Life” – How the Russian Avant-Garde Utilised the Icon Tradition to Form a Powerful Modern Aesthetic

Elena Ene D-Vasilescu: Twentieth Century Developments in European Icon Painting

Rebeka Vidrih: Iconisation at Work. Malevich’s Black Square the Modern Icon at Tate Modern

Karen von Veh: Contemporary Iconoclasm in South Africa – Transgressive Images of the Madonna and Christ in Response to Social Politics

Amy Singleton Adams: Learning to Look – The Meaning of the Unseen Icon in Dostoevsky’s The Idiot

Yvonne Dohna Schlobitten: La forma dell’immagine – La formazione liturgica

Ding Ning: Re-reading Li Gonglin’s Painting of a Country Retreat(shan-zhuang tu) at Villa I Tatti

Emma Chookaszian: L’image de la Vierge de Misericorde dans les miniatures armeniennes du Roayume de Cilicie du XIIIe siecle – Comparaison avec les icones occidentales et origine du type iconographique

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