• 목록
• 답변
• 글쓰기
• 게시판 리스트 옵션
  • 수정
  • 삭제

The International Conference on Byzantine World Art brought together experts in Byzantine studies, art conservators, and cultural historians from over thirty countries to explore the enduring legacy of Byzantine artistic traditions. Taking place in the ancient metropolis of Thessaloniki, the conference featured over a hundred presentations ranging from religious imagery and decorative arts to the reception of Byzantine styles in post-Byzantine Europe.

Participants examined how religious imagery, imperial symbolism, and architectural innovation shaped visual culture across the Eastern Mediterranean and beyond.

A standout moment included a joint exhibition of unpublished liturgical artifacts and illuminated texts from monasteries in Mount Athos and the Coptic communities of Egypt. Scholars presented new findings on material spectroscopy that uncovered the supply chains of precious pigments and metallic finishes, illustrating the intricate transregional markets that sustained the creation of sacred objects.

Panel discussions also addressed the contributions of female donors and creators, a topic historically marginalized in traditional Byzantine studies.

The opening plenary delivered by Professor Elena Vasiliev explored the ways in which Byzantine art was transformed within Eastern European and site (asianmate.kr) Islamic artistic traditions, refuting claims of artistic insularity. She argued that Byzantine motifs were not simple reproductions but culturally nuanced reinterpretations to align with regional religious identities and governance ideals. This perspective sparked lively debate among attendees, many of whom presented case studies from regions ranging from the Balkans to the Sudanese kingdoms.

Interactive sessions provided practical training in traditional gilding and tempera painting, allowing participants to develop tactile insight into the techniques behind the objects they study.

A companion public display featured conserved murals and movable altarpieces borrowed from sacred sites and institutions spanning the Mediterranean basin.

The event ended with a unified call for a call to strengthen transnational efforts to safeguard and electronically document the artistic legacy of Byzantium, especially in war-torn or environmentally vulnerable zones. All present affirmed that the study of Byzantine art is not confined to the past but remains vital to understanding the interconnectedness of global artistic traditions.

As a scholar remarked, its visual vocabulary transcends time, speaking powerfully to modern and ancient hearts alike.