Late Antique Portraits and Early Christian Icons

Regular price €167.40
A01=Andrew Paterson
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Apse Mosaic
art history
Author_Andrew Paterson
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Byzantine
Category1=Non-Fiction
Category=AB
Category=ACB
Category=AFC
Category=AGA
Category=HBLA1
Category=HDDG
Category=HRA
Category=HRKP
Category=NHC
Category=NKD
Category=QRA
Category=QRS
Christ Blessing
Christian Icons
Commemorative Portrait
COP=United Kingdom
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devotional
early Christian
Egypt
eq_art-fashion-photography
eq_history
eq_isMigrated=2
eq_non-fiction
Facial Type
Fayum
Funerary Portraiture
Greco-Roman
icon
Iconoclastic Period
Image Veneration
imperial
Imperial Portrait
Intercessory Prayer
Language_English
late antiquity
Medallion Portraits
Mediterranean
Michigan Princeton Alexandria Expeditions
Mount Sinai
mummies
Mummy Portraits
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panel painting
Panel Paintings
Portrait Categories
Portrait Images
Portrait Mummies
portraits
portraiture
Price_€100 and above
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religion
Roman Imperial Portraiture
sacred
Sacred Portraits
Saint Catherine's Monastery
Santa Maria Ad Martyres
Sinai
Sinai Icon
softlaunch
St Catherine’s Monastery
Tonal Modelling
Young Man

Product details

  • ISBN 9780367697563
  • Weight: 680g
  • Dimensions: 174 x 246mm
  • Publication Date: 30 Jun 2022
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
  • Language: English
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This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of ‘sacred portrait’ also produced during late antiquity, namely Roman imperial portraiture, Graeco-Egyptian funerary portraiture and panel paintings depicting non-Christian deities.

Andrew Paterson addresses two fundamental questions about devotional portraiture – both Christian and non-Christian – in the late antique period. Firstly, how did artists visualise and construct these images of divine or sanctified figures? And secondly, how did their intended viewers look at, respond to, and even interact with these images? Paterson argues that a key factor of many of these portrait images is the emphasis given to the depicted gaze, which invites an intensified form of personal encounter with the portrait’s subject.

The book will be of interest to scholars working in art history, theology, religion and classical studies.

Andrew Paterson is a Teaching Fellow at the University of Edinburgh.