from II - Images, Objects, Archaeology
Published online by Cambridge University Press: 18 October 2024
Through the analysis two liturgical artworks–rhipidia or liturgical fans–this chapter considers two worlds beyond the traditional geographical and chronological borders of Byzantium. First, it addresses a set of early thirteenth-century liturgical fans today in Paris and Marienmont that speak to Syrian Orthodox identity and the cultural networks forged among local Christian communities between Mosul and the Wadi al-Natrun. Then it turns to the mid-sixteenth century liturgical fan commissioned by Patriarch Makarije Sokolovic for the church of St. Nicholas in Banja, Serbia, that triangulates Orthodox-Ottoman networks and rivalries after Byzantium ceased to be a political entity. In attending to both these precious liturgical objects and the communities that they triangulated the chapter exposes a temporal dialectic between, on the one hand, a sense of venerable timelessness associated with ars sacra and, on the other, the timely politics and formal strategies in worlds beyond Byzantium’s ever-shifting borders.
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