Jasmina S. Ciric
Jasmina S. Ćirić obtained her education in Art History from the University of Belgrade Faculty of Philosophy (Department of Art History). Her research primarily delves into the visual cognition and significance of Late Byzantine Art and Architecture, focusing on rites of passage and their liturgical contexts. She demonstrates a keen interest in exploring how ornamentation operates across different materials, serving as a potent visual conduit for conveying intricate theological meanings. More specifically, her endeavours are centred around identifying the potential for 'writing' the body within architectural units through active participation in the Liturgy. This process involves crafting a sort of corporeal "autobiography" or body narrative, where the mechanics of the body and one's lived experiences within them play active roles in the Liturgy of the Faithful.
In the academic realm, she holds diverse editorial roles within prominent journals:
*Editorial Board Member
Yearbook of Moving Image Studies. University of Kiehl (Germany)
Facta Universitatis Series Visual Arts and Music (University of Niš)
NIŠ AND BYZANTIUM
ARTUM: Journal of Students and Teachers of the Department for Art History
HUMANITIES: Scientific Journal, Serbia
*Peer Reviewer:
Cogent Arts & Humanities (Taylor & Francis AS)
ISTRAŽIVANJA Јournal of Historical Researches
Zbornik radova Filozofskog fakulteta u Prištini
Facta Universitatis Series Visual Arts and Music
Athens Journal of History
Architectural Histories: An open-access Journal of the EAHN
*Advisory and Science Board
The Legends Avrupa Tarihi Çalışmaları Dergisi
ArtPATHS, a quarterly peer-reviewed journal based in Zurich
Her scholarly involvement extends further as she serves as a member of the scientific committee at The Izmir Center of the Archaeology of Western Anatolia (EKVAM), focusing on the Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8th Cent. B.C. - 5th Cent. A.D.).
She is a member of the Management Committee of the COST ACTION 19131 project, further exemplifying her commitment to advancing academic dialogue and research.
Beyond her academic pursuits, she has contributed to the Erasmus + program as a lecturer at institutions including Justus Liebig University in Giessen, Masaryk University in Brno, Charles University in Prague, and Philips University Marburg.
Furthermore, she dedicates herself to the preservation and study of monuments of culture within the Serbian cultural space in the Balkans, as well as advocating for the rights of Serbs in the diaspora.
In the academic realm, she holds diverse editorial roles within prominent journals:
*Editorial Board Member
Yearbook of Moving Image Studies. University of Kiehl (Germany)
Facta Universitatis Series Visual Arts and Music (University of Niš)
NIŠ AND BYZANTIUM
ARTUM: Journal of Students and Teachers of the Department for Art History
HUMANITIES: Scientific Journal, Serbia
*Peer Reviewer:
Cogent Arts & Humanities (Taylor & Francis AS)
ISTRAŽIVANJA Јournal of Historical Researches
Zbornik radova Filozofskog fakulteta u Prištini
Facta Universitatis Series Visual Arts and Music
Athens Journal of History
Architectural Histories: An open-access Journal of the EAHN
*Advisory and Science Board
The Legends Avrupa Tarihi Çalışmaları Dergisi
ArtPATHS, a quarterly peer-reviewed journal based in Zurich
Her scholarly involvement extends further as she serves as a member of the scientific committee at The Izmir Center of the Archaeology of Western Anatolia (EKVAM), focusing on the Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8th Cent. B.C. - 5th Cent. A.D.).
She is a member of the Management Committee of the COST ACTION 19131 project, further exemplifying her commitment to advancing academic dialogue and research.
Beyond her academic pursuits, she has contributed to the Erasmus + program as a lecturer at institutions including Justus Liebig University in Giessen, Masaryk University in Brno, Charles University in Prague, and Philips University Marburg.
Furthermore, she dedicates herself to the preservation and study of monuments of culture within the Serbian cultural space in the Balkans, as well as advocating for the rights of Serbs in the diaspora.
less
InterestsView All (24)
Uploads
Papers by Jasmina S. Ciric
Chapter 1 Loss, Memory, and Exile: Innovation and Simulation in Laskarid Art and Architecture Naomi Ruth Pitamber
Chapter 2 Brickwork and Façade: Envisioning the Apse of the Church of Saint John the Baptist at the Lips Monastery Jasmina S. Ćirić PART II Artistic Developments and Interactions in the Christian East Chapter 3 Tradition and Transition on the Slopes of the Pentadaktylos Mountain in Thirteenth-Century Cyprus Nikolas Bakirtzis Chapter 4 Icons of the Virgin Nursing at Sinai and the Question of the Origins of the Madonna dell’Umiltà Irene Leontakianakou Chapter 5 An Unknown Frankish Icon of the Mother of God Michele Bacci Chapter 6 Changes and Innovation: Reassessing Thirteenth-Century Byzantine Manuscript Illumination Marina Toumpouri PART III Regional Styles and New Cultural Identities Chapter 7 Architectural Sculpture during the Thirteenth Century: Cultural Interactions Shaping New Regional Identities Catherine Vanderheyde Chapter 8 Artistic Links between Epiros, Prilep, and Berroia in the Late Thirteenth Century: Continuity and Change in Monumental Painting Leonela Fundić Chapter 9 A Missing Link in the Development of Relief Haloes: The Evidence from Macedonia Nikolaos Siomkos PART IV New Data on Everyday and Luxury Objects Chapter 10 Changing Byzantium: The Thirteenth Century Viewed through Its Pottery: Summary of the Evidence, Main Trends, Thoughts for Future Directions Anastasia G. Yangaki Chapter 11 Slow Paces of Change in Byzantine Material Culture: Dress in the Thirteenth Century Pari Kalamara Chapter 12 New Light on Byzantine Enamels of the Thirteenth Century Antje Bosselmann-Ruickbie PART V Envisaging and Visualizing Death Chapter 13 Eloquent Texts, Colourful Images: Visionary Scenes at the Refectory of the Patmos Monastery Konstantia Kefala Chapter 14 Is Everything Dead after Death? Mural Paintings of the Last Judgment and the Eschatological Preoccupations of the Thirteenth Century. Dimitra Kotoula In Conclusion Jenny P. Albani and Ioanna Christoforaki Index of Persons Topographical Index
Constantinople under the Palaiologoi
In Constantinopolitan architecture during the period of Palaiologoi brick was used as one of the main building materials. The paper
proposes that the materiality of the wall originally included the exterior brick elements, and that brick made of soil was a substantial part of
the ritual experience of the church. Regarding brickwork preserved within main examples of the last phase of Constantinopolitan architecture,
art historians followed the convention and used the term “aniconic” to designate the nature of the wall exterior articulation: a system of semiotic
signifiers disguised as non-representational, non-figural representations of crosses or vegetal patterns but imbued with symbolic values. It is, however, precisely this so-called absence of narrative voice that allows the aniconic decoration to play a substantial role in sacred architecture: the entire surface of the façade as sacred skin and substance of the church turns into a kind of tapestry. Having in mind the variety of previous approaches to the topic, it is interesting to demonstrate the previously unexplored aesthetic connection between the concept of brickwork made by Earth and certain core aspects of transcendental teachings, such as the idea of infiltrating transcendental vision. It is possible to understand these ornaments as the substance of Constantinopolitan architectural content and its intellectual tradition during the Palaiologan dynasty.
King Milutin and the Palaeologan Age International Conference will be held ONLINE. Organizing Committee has re-evaluated the current pandemic situation and taken a definitive decision. We hope that you will be able to join us on Zoom, and look forward to seeing you in October 2021.
Почетком XIV века на југу српске средњовековне државе развила се обимна делатност на пољу градитељства, монументалног сликарства, књижевности. На подручју српске државе окупљају се значајни мајстори, најбољи у своме времену, који по свим приликама долазе из водећих уметничких центара. Упоредо са војним интервенцијама, краљ Милутин и његово окружење везују се за уметничку, културну и духовну снагу ромејског Царства династије Палеолога. Епоха краља Милутина, обимом уметничких домета, који су данас видљиви у сразмерно мањем броју сачуваних споменика, представља врхунац стварања у српском и ромејском културном контексту.
Отуда, научни скуп ,,Краљ Милутин и доба Палеолога: Историја, књижевност, културно наслеђе" има за циљ темељитије испитивање епохе краља Милутина, односа ктитора према земаљском, небеском, материјалном и духовном, исказан задужбинарским делима, религиозним смислом, духовном позадином, као и друштвено-политичким условима.
Карактер епохе посебно је препознатљив у представама у којима се кроз реч и слику манифестују слојеви српске друштвене хијерархије у средњем веку. Тематски круг отуда је најнепосредније везан за историју, архитектуру, сликарство, књижне илуминације, одевање и идентитет између Цариграда, Истока и Запада, богослужбени текстил, питање владарског гроба, светости и иконографије, архивистику, књижевно наслеђе, црквено појање, уметнички вез, богословски контекст крајем XIII и у првим деценијама XIV века, као и за перцепцију култа краља Милутина у време турске власти све до савременог доба.
На скупу очекујемо учешће историчара, историчара уметности и архитектуре, историчара и теоретичара књижевности, теолога, као и осталих научно опредељених историографа који би афирмисали нове перспективе сагледавања односа краља Милутина са династијом Палеолога.
Рок за пријављивање тема са сажетком од 300 до 500 речи је 6. мај 2021. на адресу [email protected].
Излагања су ограничена на 20 минута. Званични језици научног скупа су српски и енглески. Књига сажетака биће објављена пре научног скупа, а тематски зборник после скупа. Стручне радове написане у складу са Упутствима за приређивање радова, неопходно је послати најкасније 31. јануара 2022.
Очекујемо Ваше радове и надамо се сусрету са Вама у Скопљу. У случају евентуалне спречености да због епидемиолошких околности скуп организујемо уживо, конференција ће бити одржана онлајн о чему ћемо учеснике благовремено обавестити.
У име Организационог одбора,
др Јасмина С. Ћирић, доцент
Универзитет у Крагујевцу
Филолошко-уметнички факултет
Одсек за примењену и ликовну уметност
#kingmilutinconference2021
#EuroWeb #COST
Chapter 1 Loss, Memory, and Exile: Innovation and Simulation in Laskarid Art and Architecture Naomi Ruth Pitamber
Chapter 2 Brickwork and Façade: Envisioning the Apse of the Church of Saint John the Baptist at the Lips Monastery Jasmina S. Ćirić PART II Artistic Developments and Interactions in the Christian East Chapter 3 Tradition and Transition on the Slopes of the Pentadaktylos Mountain in Thirteenth-Century Cyprus Nikolas Bakirtzis Chapter 4 Icons of the Virgin Nursing at Sinai and the Question of the Origins of the Madonna dell’Umiltà Irene Leontakianakou Chapter 5 An Unknown Frankish Icon of the Mother of God Michele Bacci Chapter 6 Changes and Innovation: Reassessing Thirteenth-Century Byzantine Manuscript Illumination Marina Toumpouri PART III Regional Styles and New Cultural Identities Chapter 7 Architectural Sculpture during the Thirteenth Century: Cultural Interactions Shaping New Regional Identities Catherine Vanderheyde Chapter 8 Artistic Links between Epiros, Prilep, and Berroia in the Late Thirteenth Century: Continuity and Change in Monumental Painting Leonela Fundić Chapter 9 A Missing Link in the Development of Relief Haloes: The Evidence from Macedonia Nikolaos Siomkos PART IV New Data on Everyday and Luxury Objects Chapter 10 Changing Byzantium: The Thirteenth Century Viewed through Its Pottery: Summary of the Evidence, Main Trends, Thoughts for Future Directions Anastasia G. Yangaki Chapter 11 Slow Paces of Change in Byzantine Material Culture: Dress in the Thirteenth Century Pari Kalamara Chapter 12 New Light on Byzantine Enamels of the Thirteenth Century Antje Bosselmann-Ruickbie PART V Envisaging and Visualizing Death Chapter 13 Eloquent Texts, Colourful Images: Visionary Scenes at the Refectory of the Patmos Monastery Konstantia Kefala Chapter 14 Is Everything Dead after Death? Mural Paintings of the Last Judgment and the Eschatological Preoccupations of the Thirteenth Century. Dimitra Kotoula In Conclusion Jenny P. Albani and Ioanna Christoforaki Index of Persons Topographical Index
Constantinople under the Palaiologoi
In Constantinopolitan architecture during the period of Palaiologoi brick was used as one of the main building materials. The paper
proposes that the materiality of the wall originally included the exterior brick elements, and that brick made of soil was a substantial part of
the ritual experience of the church. Regarding brickwork preserved within main examples of the last phase of Constantinopolitan architecture,
art historians followed the convention and used the term “aniconic” to designate the nature of the wall exterior articulation: a system of semiotic
signifiers disguised as non-representational, non-figural representations of crosses or vegetal patterns but imbued with symbolic values. It is, however, precisely this so-called absence of narrative voice that allows the aniconic decoration to play a substantial role in sacred architecture: the entire surface of the façade as sacred skin and substance of the church turns into a kind of tapestry. Having in mind the variety of previous approaches to the topic, it is interesting to demonstrate the previously unexplored aesthetic connection between the concept of brickwork made by Earth and certain core aspects of transcendental teachings, such as the idea of infiltrating transcendental vision. It is possible to understand these ornaments as the substance of Constantinopolitan architectural content and its intellectual tradition during the Palaiologan dynasty.
King Milutin and the Palaeologan Age International Conference will be held ONLINE. Organizing Committee has re-evaluated the current pandemic situation and taken a definitive decision. We hope that you will be able to join us on Zoom, and look forward to seeing you in October 2021.
Почетком XIV века на југу српске средњовековне државе развила се обимна делатност на пољу градитељства, монументалног сликарства, књижевности. На подручју српске државе окупљају се значајни мајстори, најбољи у своме времену, који по свим приликама долазе из водећих уметничких центара. Упоредо са војним интервенцијама, краљ Милутин и његово окружење везују се за уметничку, културну и духовну снагу ромејског Царства династије Палеолога. Епоха краља Милутина, обимом уметничких домета, који су данас видљиви у сразмерно мањем броју сачуваних споменика, представља врхунац стварања у српском и ромејском културном контексту.
Отуда, научни скуп ,,Краљ Милутин и доба Палеолога: Историја, књижевност, културно наслеђе" има за циљ темељитије испитивање епохе краља Милутина, односа ктитора према земаљском, небеском, материјалном и духовном, исказан задужбинарским делима, религиозним смислом, духовном позадином, као и друштвено-политичким условима.
Карактер епохе посебно је препознатљив у представама у којима се кроз реч и слику манифестују слојеви српске друштвене хијерархије у средњем веку. Тематски круг отуда је најнепосредније везан за историју, архитектуру, сликарство, књижне илуминације, одевање и идентитет између Цариграда, Истока и Запада, богослужбени текстил, питање владарског гроба, светости и иконографије, архивистику, књижевно наслеђе, црквено појање, уметнички вез, богословски контекст крајем XIII и у првим деценијама XIV века, као и за перцепцију култа краља Милутина у време турске власти све до савременог доба.
На скупу очекујемо учешће историчара, историчара уметности и архитектуре, историчара и теоретичара књижевности, теолога, као и осталих научно опредељених историографа који би афирмисали нове перспективе сагледавања односа краља Милутина са династијом Палеолога.
Рок за пријављивање тема са сажетком од 300 до 500 речи је 6. мај 2021. на адресу [email protected].
Излагања су ограничена на 20 минута. Званични језици научног скупа су српски и енглески. Књига сажетака биће објављена пре научног скупа, а тематски зборник после скупа. Стручне радове написане у складу са Упутствима за приређивање радова, неопходно је послати најкасније 31. јануара 2022.
Очекујемо Ваше радове и надамо се сусрету са Вама у Скопљу. У случају евентуалне спречености да због епидемиолошких околности скуп организујемо уживо, конференција ће бити одржана онлајн о чему ћемо учеснике благовремено обавестити.
У име Организационог одбора,
др Јасмина С. Ћирић, доцент
Универзитет у Крагујевцу
Филолошко-уметнички факултет
Одсек за примењену и ликовну уметност
#kingmilutinconference2021
#EuroWeb #COST
Second part of this presentation about fleur de lis inscribed in the square is printed in the article "Décryptage du mur : l’Arbre de Vie dans l’architecture byzantine tardive, Collection of Works "Spaces of Memory: Art, Architecture and Heritage", Faculty of Philosophy, Belgrade [forthcoming, 2012], 19 - 31.https://www.academia.edu/1073896/D%C3%A9cryptage_du_mur_l_Arbre_de_Vie_dans_l_architecture_byzantine_tardive_Collection_of_Works_Spaces_of_Memory_Art_Architecture_and_Heritage_Faculty_of_Philosophy_Belgrade_forthcoming_2012_19_-_31
Specifically, topic is furthermore developed in my article "Brick substance at Zaum church in Ohrid": https://www.academia.edu/3693659/Brick_substance_at_Zaum_church_in_Ohrid
The motif was properly analyzed in numerous texts and studies which deals with the Romanesque and Gothic architectural decoration in France. That was not the case within the history of Byzantine architecture that until recently in interpreting horizons employed the typological approach.
“Fleur de lis” was noticed as heraldry/dynastic device especially after journeys of Byzantine emperors when the Empire came in increased contact with Westerners. Taking into consideration Ps 92:12-14 where is mentioned that the righteous are as green as “fleur de lis”, it should be re-evaluated the reason why this heraldic device appears almost without exception in the Late Byzantine architecture which was in lively cultural interchanges with the West.
Passing through examples as Mystra, Monemvasia, Geraki, and Mesemvria paper aims to stress “fleur de lis” transformative implications (heraldic versus spiritual) in the case of monastery Ljubostinja in Morava Serbia. The examinations of the secondary use of west entrance architrave with “fleur de lis” motives, suggests that through this kind of nearby positioned sarcophagus spoliation in narthex was established specifically eschatological connection between passing through entrance and relics, so called “erasing” the distinction of Earthly and Heavenly.
Empire (AD 330–1453). The spoken language continued to develop throughout
the Byzantine period, and, when the vernacular becomes visible to us in the
twelfth century as a language for new forms of literature, it is already
recognizably Modern Greek. However most Byzantine historical, theological,
rhetorical and literary writers, both before and after the twelfth century, use a
conservative and almost static form of Greek based directly or indirectly on the
established idea of Attic Greek of the fifth century BC, but influenced by the
Hellenistic Koine and Biblical Greek, with additional Latin-derived vocabulary,
particularly in matters of administration and law.
Byzantine Greek introduces the attendants to extracts of real Byzantine texts from the beginning, and, while some of the vocabulary is specific to the period, the greater part of it is equally useful in approaching pre-Byzantine Greek texts, including the New Testament. Also we may introduce students to samples of late Byzantine vernacular literature, which exhibit elements of the morphology and syntax of Modern Greek. Texts studied usually include selections from a historical chronicle (the Chronographia of Theophanes) and excerpts from the Liturgy of John Chrysostom, and from a Saint’s Life, as well as examples of Biblical and Classical Greek. There are frequent short written tests, which are corrected by the
teachers and returned to the students, throughout the course. At the end of the
course there is written exam paper (three hours) and students who pass this are
given a certificate to say that they have successfully completed the course""
Professor Florin Curta, University of Florida, United States
Professor Jonathan Shepard, University of Cambridge, Great Britain
Albrecht Berger, Ludwig-Maximilian University, Munich, Germany Introduction to the Urban History of Constantinople
Claudia Sode, University of Cologne, Germany Church and Theology in Byzantium
Vlada Stanković, Faculty of Philosophy, Belgrade, Serbia
Constantinople of the Komnenoi (11th-12th Century) and Its Impact on the Balkan Policy of the Empire
Ivan Stevović, Faculty of Philosophy, Belgrade, Serbia
Constantinople and Byzantine Architecture in the Balkans
Jelena Erdeljan, Faculty of Philosophy, Belgrade, Serbia
Constantinople and Its Influence on the Creation of Capital Cities in the Balkans
EXCURSIONS
17-18 July 2009 Monuments and history of the 12th and the 13th centuries (Studenica, Žiča, Sopoćani, Gradac, Đurđevi Stupovi)
19 July 2009 Belgrade's fortress
20 July 2009 Monuments and history of the 14th and the 15th centuries (Ravanica, Manasija, Belgrade Fortress)""
Second part of the paper deals with interpretation of this architectural concept, same as the contemporaneous restoration of the Chora Monastery (Kariye Camii). Selective replication of the architectural elements and similarity of disposition allow us to make adequate parallels and conclusions about intervisuality between Holy Virgin Ljeviška church and several edifices from Thessaloniki and Constantinople. However, interpretations based on plans alone remain simplistic; analyses from semiotic level of the facades can better encompass the experience of a building's beholders.
Such an understanding of the wall filled with arcus triumphalis presupposes seeing the church from an eschatological perspective. From the perspective of faith, the church is understood as a sign and an anticipation of that fellowship between God and humans which will be brought about by the forthcoming Kingdom of God. Statements about the walls as holy must be understood as the church in light of tits eschatological destiny.
https://www.f.bg.ac.rs/files/iu_ARTUM1_2015-07.pdf
Publisher: Department for Art History, Faculty of Philosophy University of Belgrade
Editor-in-chief: Vladana Putnik,PhD
Editorial Board:
Ana Knežević, Tamara Biljman; Milan Popadić, PhD; Jasmina Ćirić, PhD; Vuk Dautović, M.A.
Contact: [email protected]
Art, Archaeology and Society in the 13th c.
Convenors: Jenny Albani (Hellenic Ministry of Culture and Hellenic Open University)
Ioanna Christoforaki (Academy of Athens)
The year 1204, when Byzantium was conquered by the participants of the Fourth Crusade, marks a major and violent change on several levels, including politics and the economy, society and religion, as well as art and culture. The once powerful empire experienced both the humiliation of foreign occupation and its political subjugation. After its re-establishment in 1261, Byzantium had become a shrunken state, surrounded by aggressive enemies, while a number of its vital areas, such as Crete, Cyprus and the Ionian islands remained under foreign rule. These changes influenced not only the artistic output but the everyday life of the Byzantines as well. New ideas, new preferences and new techniques are attested in architecture, painting, sculpture and minor arts, all of which developed a new dynamic.
Although the changes which occurred during the thirteenth century, both in archaeology and society, have been examined in the past, a re-evalution of old and new data, combined with a fresh look on recent archaeological finds, is long overdue. The Thematic Session, entitled Byzantium in Change. Art, Archaeology and Society in the 13th c., aims to provide a well-rounded and balanced overview of this troubled century, by examining the transformations created and developed within the new framework of co-existence among Byzantines, Latins, Slavs and Ottomans. The main focus will be on architecture, painting and material culture, as attested in key political entities of the now fragmented Byzantine territory.
The participants in the Thematic Session, chosen to represent both established and younger scholars from Greece and abroad, are art and architectural historians, material culture experts and field archaeologists. They have been asked to explore issues relating to the artistic expression of the encounter between Byzantium and the West; the continuity, change or adaptation of artistic trends before and after 1204, both in urban centres and the countryside; and the archaeological testimonies for interaction, opposition or symbiosis, both on official and local levels.
Музички инструменти на споменицима српске средњовековне ликовне уметности представљају драгоцене прилоге за проучавање свеукупног средњовековног инструментаријума, који је готово у целини познат само из ликовних извора. Сведочанства сачувана на фрескама биће приказана у оквиру предавања. Исликавани су најчешће на сценама Христовог рођења, ругања Христу и као илустрације псалама, али и на другим композицијама. Често су приказивани тасови, а нарочито бубњеви, рогови и трубе, разне вресте лаута и псалтериони. Они красе Мирослављево јеванђеље и Минхенски псалтир, зидове Хиландара, Старог Нагоричина, Дечана, Леснова, Хопова и сл.
сажетак теме за најаву би био:
Религијска архитектура је несумњиво један од најстаријих облика архитектуре уопште. Храмови су присутни као архитектонски образац кроз читаву историју људског рода. Несумњиво је да су они били често део владарске идеологије. Оно што је, међутим, мање познато јесте да је архитектура често била заправо исказ којим се изражавало религијско уверење, неретко схватање света (космологија), као и представљање позиције коју у том и таквом свету има човек. Ове, мање уочљиве, али веома снажно образоване, идеје преточене у архитектонски образац биле су тема трибине.
With its fortress as focal point of the city, than cathedral church dedicated to St. Sophia, also churches of St. John Theologian (Kaneo) and Virgin Mary Perivleptos church, it is possible to discuss about creating of sacred spaces in Ohrid. All together, on the sacred path from the Lower Gate to the Upper Gate, churches are positioned in specific sacred ‘units’ which contain specific symbolic contents for the observer. Whole symbolism of exteriority of the churches and interior contents, with disposition of the holy relics of St.Clement of Ohrid, contribute to the creation of specific vision of the city as iconic image in which is contained divine essence in the range of highly imbued symbolic structures. It is noteworthy that the role of beholder acquires significance, not only by walking within Medieval city of Ohrid as image of Celestial Jerusalem but also visualizing the substance of the images within dynamically changing forms of both exterior and interior sacred space of the churches.
https://www.youtube.com/playlist?list=PL89iPO_6ujodh2SbM7FSnVfeIkx6OmBZ3
- Single (free)- standing towers
- Monastic Towers
- Towers in maritime forts, harbors and arsenals
- Towers in Palaces
- Donjons
- Towers with gates
- Byzantine Towers in Asia Minor (Anatolia)
- Towers of the Frankish, Venetian and Genoese rulers
- Towers of the Order of St. John
- Genoese Towers in Turkey
- Seljuk Towers
- Ottoman Towers
- Post-Byzantine Towers
- Towers with canons
- Tower Houses of the Byzantine, Frankish, Venetian and
early Ottoman Period
- Inscriptions on Towers
- Heraldry in Towers
- Buttressed Towers
According to the Greek philosopher Heraclitus of Ephesos (c. 535 – c. 475 B.C.), whose aphorism Πάντα ῥεῖ, i.e. everything flows, is highlighted in the title of this collective volume, change is the fundamental essence of the universe. The book aims to provide an up-to-date, well-rounded, and balanced overview of the long thirteenth century, by examining aspects of the artistic and cultural transformations created and developed within the new framework of co-existence among Byzantines, Latins, Slavs, and Ottomans.