Globalizing Byzantium from Birmingham

The last thing I promised I’d write about from the quarter-slice of 2017 through which this blog’s backlog is presently proceeding was the 50th Spring Symposium of Byzantine Studies, from 25th to 27th March of that year. There are plenty of stories that could be told about this conference, starting with the whole story of the Spring Symposium, which has, as that title suggests, been happening for 50 years, rotating away from and back to Birmingham like a short-duration comet; or one could tell the story of its founder, Anthony Bryer, who had died the previous year and so was being extensively commemorated here; or how it had fallen in this year upon Professor Leslie Brubaker and my two erstwhile Barber Institute collaborators, Rebecca Darley and Daniel Reynolds, to organise it (which earns one the title of ‘Symposiarch’); but for me the chief story is probably always going to be how I arrived as a guest and was converted to presenter at twenty minutes’ notice and still more or less got away with it. So if that intrigues you, or if an international conference on Byzantine Studies does indeed, read on, and for the rest of you, since this post is long, I shall simply set out the running order of what I saw, then stick a cut in and expound at greater length beyond it. So! Here we go.

By now-ancient tradition, the organisation of the Spring Symposium wherever it is held is two-level, with keynote lectures and plenary sessions to which the whole gathering can go at one level, and at the other ‘communications’, these being shorter papers which run in parallel strands. On this occasion there was also a third part, in the form of a postgraduate workshop following the main proceedings. All this together means that my academic itinerary through the conference went like this:

25th March
• Michael Whitby, “Welcome”
• Leslie Brubaker, “What is Global Byzantium?”
• Catherine Holmes, “Global Byzantium: a Whirlwind Romance or Fundamental Paradigm Shift?”

Coffee break

• Rebecca Darley, “India in the Byzantine Worldview”
• Antony Eastmond, “Constantinople: Local Centre and Global Peripheries”
• Francesca dell’Acqua, “What about Greek(s) in Eighth- and Ninth-Century Italy?”

Lunch

• Matthew Kinloch, “Historiographies of Reconquest: Constantinople, Iberia and the Danelaw”
• Maroula Perisanidi, “Clerical Marriage in Comparative Perspective”
• Kristian Hansen-Schmidt, “Constantine’s Μονοχυλα: Canoe or Viking Ship?”
• Lauren Wainwright, “Import, Export: the Global Impact of Byzantine Marriage Alliances during the 10th Century”
• Jeffrey Brubaker, “What is Byzantine about ‘Byzantine Diplomacy’?”
• Adrián Elías Negro Cortes, “Tributes Linked to Military Actions in Both Ends of the Mediterranean: from Byzantium to Spain”

Tea

• Corisande Fenwick, “Forgotten Africa and the Global Middle Ages”
• Tim Greenwood, “Composing History at the Margins of Empire: Armenian Chronicles in Comparative Perspective”
• John Haldon, “A ‘Global’ Empire: the Structures of East Roman Longevity”
• Robin Milner-Gulland, “Ultimate Russia – Ultimate Byzantium”

Champagne Bus and Conference Dinner¹

26th March

• Liz James, “Byzantine Art – A Global Art? Looking beyond Byzantium”
• Hugh Kennedy, “The State as an Econmic Actor in Byzantium and the Caliphate c. 650-c. 950: A Cross-Cultural Comparison”
• Angeliki Lymberopoulou, “‘Maniera Greca’ and Renaissance Europe: More Than Meets the Eye”
• Henry Maguire, “Magical Signs in Byzantium and Islam: A Global Language”

Coffee

• Julia Galliker, “Silk in the Byzantine World: Transmission and Technology”
• Eduardo Manzano Moreno, “Attracting Poles: Byzantium, al-Andalus and the Shaping of the Mediterranean in the 10th Century”

Lunch and Auction

• Claudia Rapp, “Secluded Place or Global Magnet? The Monastery of Saint Catherine on the Sinai and its Manuscript Collection”
• Robert Ousterhout, “The ‘Helladic Paradigm’ in a Global Perspective”
• Arietta Papaconstantinou, “Spice Odysseys: Exotic ‘Stuff’ and its Imaginary”

Tea

• Hajnalka Herold, “How Byzantine was 9th-Century Moravia? An Archaeological Perspective”
• Nik Matheou, “New Rome & Caucasia, c. 900-1100: Empire, Elitedom and Identity in a Global Perspective”
• Alexandra Vukovich, “A Facet of Byzantium’s Ideological Reach: the Case of Byzantine Imitation Coins”
• Andrew Small, “‘From the Halls of Tadmakka to the Shores of Sicily’: Byzantine Italy and Sub-Saharan Africa in the 11th century”, read by Nik Matheou
• Flavia Vanni, “Transferring Skills and Techniques across the Mediterranean: Some Preliminary Remarks on Stucco in Italy and Byzantium”

Wine Reception

27th March

• Peter Sarris, “Centre or Periphery? Constantinople and the Eurasian Trading System at the End of Antiquity”
• Linda Safran, “Teaching Byzantine Art in China: Some Thoughts on Global Reception”
• Daniel Reynolds, “Jerusalem and the Fabrication of a Global City”

Coffee, then a closing round table session as follows:

• Fotini Kondyli, “Material Culture”
• Margaret Mullett, “Global Literature”
• Joanna Story, “The View from… the West”
• Scott Redford, “Byzantium and the Islamic World: Global Perspectives?”
• Naomi Standen, “East Asia”
• Chris Wickham, “Final Remarks”

That’s exhausting even to have typed out, and I certainly can’t come up with something to say about every paper at three years’ remove without basically repeating my already-somewhat illegible notes, so instead I’ll try to pull some general trends out of that list and then focus particularly on the theme and people’s approaches to it. What with me not really being a Byzantinist, that may mean a slightly odd selection, but you’re used to that, I know. Everybody involved deserves a better press than this will give them, but there just isn’t sensible space.² In any case, now you can see what the rest of the post may look like, this is a good place for the cut and then the deeply interested can continue at their leisure.

Leeds International Medieval Congress 2016, reflected upon from a distance

Somehow Action Short of a Strike still looks a lot like a really hard week—the contract I’m working to doesn’t have fixed hours—so I find myself blogging very late on a Sunday. Both because of that and because of the topic, I don’t want to write a long post (though when I say that it never works, not least because of parentheses like these…): what can there be to say about a conference three years ago? On the other hand, in so far as this blog is my academic record, I don’t want to miss it out: I was there, I did things I hope will matter, and I was for the first time able to host friends for it at the house then ours in Leeds, so it was a sociable occasion worth remembering. Indeed, I made quite a few new friends at Leeds 2016, looking back, so some sort of record is needed. I’ll restrict it, however, to a list of the papers I went to and limited commentary where I have some memory or good notes, and I’ll put it behind a cut so as not to bore those who think this a touch too obsessional. If I don’t feature your paper, please blame my memory, not your content; it was a long and tiring conference, as it always is. But I will take the last day in a separate post, because it was sort of a conference within a conference for me, for reasons that will become obvious in that other post. So this is 4th to 6th July 2016 in my world, as it unfolded…

Seminar CCI: absence of ornamentation in Byzantine churches

My last seminar of the spring term of this (calendar) year was back to Byzantium, in the form of turning up to the General Seminar of the Centre for Byzantine, Ottoman and Modern Greek Studies in Birmingham to hear Professor Henry Maguire speak with the title “Why was there no Renaissance in Byzantine art?” Professor Maguire was known to me only as a name at this point, but I had been assured that it was quite a big name in the field, and this he demonstrated by having to apologise for the fact that he was giving us a version of a public lecture he’d done in the USA. He was apologising for what he called the “flourishes”, but actually I was glad of the nods towards accessibility. I am however faced with the peculiarity that though I remember him making a perfectly reasonable stab at answering the question of his title, my notes seem determined to answer another one, which was more like “why is Byzantine art so darn austere?”

Looking pretty Byzantine, this gold-on-tempera Madonna and Child is actually from Lucca, by a chap called Berlinghiero who was active in the first third of the thirteenth century, but it gets the idea over both of what was and what could change. “Berlinghiero: Madonna and Child” (60.173) in Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/60.173 (October 2006).

Comparisons with the art of the Italian Renaissance certainly helped to mark a contrast: even when the subject matter was similar, the level of ornamentation was usually starkly different. To drive this home Professor Maguire showed us two suspiciously similar Madonna and child portraits, both with the classic long gloomy Byzantine faces and almost identical poses, but one from Italy having a background loaded with architecture, ships and trees and a Byzantine one, well, not doing that. This lack of ornamentation is characteristic of Byzantine art as we know it, and can be set with Byzantine theologians’ disdain for the Latins’ concentration on external things rather than the internal, spiritual ones that really mattered, but that feeling didn’t stop them celebrating the glories of God’s Creation visually elsewhere.¹ Nonetheless, from the ninth century onwards it’s really hard to find much beyond geometric ornament and stylised portraits in Byzantine art as it survives. Why?

Obviously there are exceptions… but even here, in the dome of the church of the virgin of Arakas, Lagoudera, Cyprus, this twelfth-century painting is figures of holy men and geometric ornament and little more, however much there is of it. I’m not sure austere is quite the word, but… Link goes to a web-page with a zoomable image.

Well, one obvious factor is that survival, because we’re talking almost entirely about churches here and may suspect, from what little we have of secular art and even manuscript painting, that that was more lively. In church, however, such things could be criticised as distracting from the holy focus of worship from as early as the fifth century. Defacement of palæochristian mosaic pavements and so on has been put down to Muslim pressure, but it was happening in Christian buildings and does seem to thrive as an ethic of non-natural display even in unconquered areas (though it is definitely strongest in modern Jordan and Palestine, as Daniel Reynolds pointed out in questions). Professor Maguire suggested that the real enemy here, as evinced in the legislation that closed the controversy over icons at Nicæa in 787, was not Islam but paganism, an imagery of zoomorphs and human-animal hybrids essentially inherited from Egypt and the Classical era. He ingeniously argued that the removal of the natural world from ornamentation was in fact how one allowed the human figure to remain as a visual object, because of its unique potential to reside in the next world, to which churches then operated as a gateway as they should.² Consequently the saints only appear in the upper registers of Byzantine church spaces, where one’s eyes are upraised to Heaven to see them; they stand between the worshippers and the uppermost spaces, it’s all quite plausible when put together like this.

A ‘corrected’ mosaic at St Stephen’s Umm al-Rasas, Jordan, with all the human figures carefully replaced with blank or reused tessera. I’m really not sure this is the same phenomenon, myself…

It was this different focus on heaven in art rather than the world that Professor Maguire used to explain the lack of a revival of interest in the created world by which he was characterising the Western Renaissance, but the questions centred most of all on the issue of defacement of imagery in churches. Daniel Reynolds, as said, raised the issue of regionality, and Matthew Harpster that of chronology: whether or not such imagery was criticised earlier, the defacements that we can date are post-Islamic, late eighth or ninth century. There’s a certain sense in this as that’s when Islam generally hardened up in its dealings with the other Abrahamic faiths; it’s when the so-called Covenant of ‘Umar’ starts to be invoked, for example.³ Christians might well feel under scrutiny then… Daniel Reynolds doubted that this could be fear of paganism as late as the ninth century, at least, and also put forward an idea from his own research on the early Islamic Holy Land, which is that as far as he has been able to discover, such defacement happens only in churches which held to the Chalcedonian rite, not in Monophysite/Coptic or other non-Orthodox ones.⁴ If the attack on Classical imagery is only a Melkite thing, as he put it, then at the very least Islam, while it may have been the catalyst somehow, was not the only actor in play and it served as a reminder that there were lots of stakeholders in Byzantine Christianity, and presumably its art, even after Byzantium ceased to be able to control much of it.

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1. Cited doing this were the Vita S. Andreae Sali, which you may be able to find in Lennart Rydén (ed./transl.), The Life of St Andrew the Fool: text, translation and commentary (Uppsala 1995), 2 vols, and Symeon of Thessaloniki, who apparently also provides the Latin-slagging and whose stuff is edited as David Balfour (ed.), Politico-Historical Works of Symeon, Archbishop of Thessalonica (1416/1417 to 1429): critical Greek text with introduction and commentary, Wiener byzantinische Studien 13 (Wien 1979) and idem (ed.), Ἔργα θεολογικά, Ἁγίου Συμεὼν ἀρχιεπισκόπου Θεσσαλονίκης, 1416/17-1429 (Thessaloniki 1981), but only some translated; I don’t know which work was meant here, so I can’t be any more guidance than Wikipedia can I’m afraid. This is probably also the place to mention Professor Maguire’s most obviously relevant works, his collected papers, H. Maguire, Rhetoric, Nature and Magic in Byzantine Art, Variorum Collected Studies 603 (Aldershot 1998) and idem, Image and Imagination in Byzantine Art, Variorum Collected Studies 866 (Aldershot 2007), and his more recent monograph, idem, Nectar and Illusion: nature in Byzantine art and literature (Oxford 2012).

2. I believe I am prevented, both by good sense and probably also contractually, from mentioning Iconoclasm without citing Leslie Brubaker & John Haldon, Byzantium in the Iconoclast Era ca. 680–ca. 850: a history (Cambridge 2011).

3. Something that I know about mainly from Norman Daniel, “Spanish Christian Sources of Information about Islam (ninth-thirteenth centuries)” in al-Qantara: revista de estudios árabes Vol. 15 (Madrid 1994), pp. 365-384.

4. Dan needs to get more stuff into print (don’t we all?) but has some limited excuse what with only just having left his doctorate, “Monasticism and Christian Pilgrimage in Early Islamic Palestine c. 614-c. 950″, University of Birmingham 2013, behind him; he will at least soon be able to boast of D. Reynolds, “Monasticism in early Islamic Palestine: contours of debate” in Robert Hoyland and Marie Legendre (edd.), The Late Antique World of Early Islam: Muslims among Christians and Jews in the East Mediterranean (London forthcoming).