Late Antique Portraits and Early Christian Icons

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A01=Andrew Paterson
Apse Mosaic
art history
Author_Andrew Paterson
Byzantine
Byzantine iconography
Category=AG
Category=AGA
Christ Blessing
Christian Icons
Commemorative Portrait
devotional
early Christian
Egypt
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Facial Type
Fayum
funerary portrait analysis
Funerary Portraiture
Greco-Roman
icon
Iconoclastic Period
Image Veneration
imperial
Imperial Portrait
Intercessory Prayer
late antique sacred portraiture research
late antiquity
Medallion Portraits
Mediterranean
Michigan Princeton Alexandria Expeditions
Mount Sinai
mummies
Mummy Portraits
panel painting
Panel Paintings
Portrait Categories
Portrait Images
Portrait Mummies
portraits
portraiture
religion
religious image reception
Roman imperial imagery
Roman Imperial Portraiture
sacred
sacred art history
Sacred Portraits
Saint Catherine's Monastery
Santa Maria Ad Martyres
Sinai
Sinai Icon
St Catherine's Monastery
St Catherine’s Monastery
Tonal Modelling
visual devotion studies
Young Man

Product details

  • ISBN 9780367697587
  • Weight: 680g
  • Dimensions: 174 x 246mm
  • Publication Date: 27 May 2024
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Paperback
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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.

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