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5 - Art and liturgy in the later Byzantine Empire

from PART I - THE ECUMENICAL PATRIARCHATE

Published online by Cambridge University Press:  28 March 2008

By
Nancy Ševčenko
Edited by
Michael Angold
Michael Angold
Affiliation:
University of Edinburgh
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Summary

It is generally assumed that by the eleventh century the text of the Byzantine liturgy was well established and was performed in a consistent manner throughout much of the Greek-speaking world. For the Eucharist, this assumption is essentially true, though some evolution was still to take place with the widespread adoption of the Eucharistic liturgy of John Chrysostom in preference to that of St Basil and with the expansion of the prothesis rite, that is, the prefatory rite before the beginning of the Eucharist. For the feasts of the church year, however, this is less true, as new poetic pieces were still being composed for, and saints being added to, the basic calendar of commemorations even after the end of the empire. Of most importance for the history of the liturgy in this period was the merging of the liturgy of the Great Church of Constantinople with Palestinian monastic rites: a process which started in the ninth century and was only completed in the twelfth. The pomp and circumstance of the former was enriched by the poetic hymnody of the latter. However, even as late as the fifteenth century, the church of Thessalonike continued to preserve elements of the Asmatike akolouthia, as the liturgy of the Great Church was known. Its elaborate ceremonies had some influence on the art of the Balkans in the fourteenth century.

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The Cambridge History of Christianity , pp. 127 - 153
Publisher: Cambridge University Press
Print publication year: 2006

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