Jasmina S. Ciric
Jasmina S. Ćirić obtained her education in Art History from the University of Belgrade Faculty of Philosophy (Department of Art History). Her research primarily delves into the visual cognition and significance of Late Byzantine Art and Architecture, focusing on rites of passage and their liturgical contexts. She demonstrates a keen interest in exploring how ornamentation operates across different materials, serving as a potent visual conduit for conveying intricate theological meanings. More specifically, her endeavours are centred around identifying the potential for 'writing' the body within architectural units through active participation in the Liturgy. This process involves crafting a sort of corporeal "autobiography" or body narrative, where the mechanics of the body and one's lived experiences within them play active roles in the Liturgy of the Faithful.
In the academic realm, she holds diverse editorial roles within prominent journals:
*Editorial Board Member
Yearbook of Moving Image Studies. University of Kiehl (Germany)
Facta Universitatis Series Visual Arts and Music (University of Niš)
NIŠ AND BYZANTIUM
ARTUM: Journal of Students and Teachers of the Department for Art History
HUMANITIES: Scientific Journal, Serbia
*Peer Reviewer:
Cogent Arts & Humanities (Taylor & Francis AS)
ISTRAŽIVANJA Јournal of Historical Researches
Zbornik radova Filozofskog fakulteta u Prištini
Facta Universitatis Series Visual Arts and Music
Athens Journal of History
Architectural Histories: An open-access Journal of the EAHN
*Advisory and Science Board
The Legends Avrupa Tarihi Çalışmaları Dergisi
ArtPATHS, a quarterly peer-reviewed journal based in Zurich
Her scholarly involvement extends further as she serves as a member of the scientific committee at The Izmir Center of the Archaeology of Western Anatolia (EKVAM), focusing on the Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8th Cent. B.C. - 5th Cent. A.D.).
She is a member of the Management Committee of the COST ACTION 19131 project, further exemplifying her commitment to advancing academic dialogue and research.
Beyond her academic pursuits, she has contributed to the Erasmus + program as a lecturer at institutions including Justus Liebig University in Giessen, Masaryk University in Brno, Charles University in Prague, and Philips University Marburg.
Furthermore, she dedicates herself to the preservation and study of monuments of culture within the Serbian cultural space in the Balkans, as well as advocating for the rights of Serbs in the diaspora.
In the academic realm, she holds diverse editorial roles within prominent journals:
*Editorial Board Member
Yearbook of Moving Image Studies. University of Kiehl (Germany)
Facta Universitatis Series Visual Arts and Music (University of Niš)
NIŠ AND BYZANTIUM
ARTUM: Journal of Students and Teachers of the Department for Art History
HUMANITIES: Scientific Journal, Serbia
*Peer Reviewer:
Cogent Arts & Humanities (Taylor & Francis AS)
ISTRAŽIVANJA Јournal of Historical Researches
Zbornik radova Filozofskog fakulteta u Prištini
Facta Universitatis Series Visual Arts and Music
Athens Journal of History
Architectural Histories: An open-access Journal of the EAHN
*Advisory and Science Board
The Legends Avrupa Tarihi Çalışmaları Dergisi
ArtPATHS, a quarterly peer-reviewed journal based in Zurich
Her scholarly involvement extends further as she serves as a member of the scientific committee at The Izmir Center of the Archaeology of Western Anatolia (EKVAM), focusing on the Archaeology and History of Lydia from the Early Lydian Period to Late Antiquity (8th Cent. B.C. - 5th Cent. A.D.).
She is a member of the Management Committee of the COST ACTION 19131 project, further exemplifying her commitment to advancing academic dialogue and research.
Beyond her academic pursuits, she has contributed to the Erasmus + program as a lecturer at institutions including Justus Liebig University in Giessen, Masaryk University in Brno, Charles University in Prague, and Philips University Marburg.
Furthermore, she dedicates herself to the preservation and study of monuments of culture within the Serbian cultural space in the Balkans, as well as advocating for the rights of Serbs in the diaspora.
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Papers by Jasmina S. Ciric
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Članek raziskuje presečišče utelešenega spoznavanja in čutnih doživetij v cerkvi svetega Nikolaja v Ljubotenu, zgrajeni leta 1337 v bližini Skopja v Severni Makedoniji. Raziskava se osredotoča na okrasno opeko cerkve, zlasti na okrasje apside, in poudarja, da ti elementi presegajo zgolj estetiko ter omogočajo poglobljeno duhovno izkušnjo. Osrednji del analize je monogram Demetrija (Dmitra), ključni motiv, skrit v zahodnem portalu, ki izpostavlja medsebojni vpliv materialne kulture in duhovne prakse. Z multidisciplinarnim pristopom, ki združuje umetnostnozgodovinsko analizo in spoznanja kognitivne znanosti, raziskava preučuje, kako fizični in okrasni elementi cerkve vključujejo čute ter bogatijo srednjeveško versko izkušnjo. Okrasni motivi šahovskih polj, cikcak linij in kriptogramov služijo kot kognitivne metafore, ki povezujejo sveto in čutno ter prispevajo k poglobljenemu razumevanju verske pobožnosti. Prispevek poudarja pomen čutnih izkušenj v srednjeveški duhovnosti in cerkev svetega Nikolaja umešča v širši bizantinski ter srbski srednjeveški kulturni kontekst.
Chapter 1 Loss, Memory, and Exile: Innovation and Simulation in Laskarid Art and Architecture Naomi Ruth Pitamber
Chapter 2 Brickwork and Façade: Envisioning the Apse of the Church of Saint John the Baptist at the Lips Monastery Jasmina S. Ćirić PART II Artistic Developments and Interactions in the Christian East Chapter 3 Tradition and Transition on the Slopes of the Pentadaktylos Mountain in Thirteenth-Century Cyprus Nikolas Bakirtzis Chapter 4 Icons of the Virgin Nursing at Sinai and the Question of the Origins of the Madonna dell’Umiltà Irene Leontakianakou Chapter 5 An Unknown Frankish Icon of the Mother of God Michele Bacci Chapter 6 Changes and Innovation: Reassessing Thirteenth-Century Byzantine Manuscript Illumination Marina Toumpouri PART III Regional Styles and New Cultural Identities Chapter 7 Architectural Sculpture during the Thirteenth Century: Cultural Interactions Shaping New Regional Identities Catherine Vanderheyde Chapter 8 Artistic Links between Epiros, Prilep, and Berroia in the Late Thirteenth Century: Continuity and Change in Monumental Painting Leonela Fundić Chapter 9 A Missing Link in the Development of Relief Haloes: The Evidence from Macedonia Nikolaos Siomkos PART IV New Data on Everyday and Luxury Objects Chapter 10 Changing Byzantium: The Thirteenth Century Viewed through Its Pottery: Summary of the Evidence, Main Trends, Thoughts for Future Directions Anastasia G. Yangaki Chapter 11 Slow Paces of Change in Byzantine Material Culture: Dress in the Thirteenth Century Pari Kalamara Chapter 12 New Light on Byzantine Enamels of the Thirteenth Century Antje Bosselmann-Ruickbie PART V Envisaging and Visualizing Death Chapter 13 Eloquent Texts, Colourful Images: Visionary Scenes at the Refectory of the Patmos Monastery Konstantia Kefala Chapter 14 Is Everything Dead after Death? Mural Paintings of the Last Judgment and the Eschatological Preoccupations of the Thirteenth Century. Dimitra Kotoula In Conclusion Jenny P. Albani and Ioanna Christoforaki Index of Persons Topographical Index
Constantinople under the Palaiologoi
In Constantinopolitan architecture during the period of Palaiologoi brick was used as one of the main building materials. The paper
proposes that the materiality of the wall originally included the exterior brick elements, and that brick made of soil was a substantial part of
the ritual experience of the church. Regarding brickwork preserved within main examples of the last phase of Constantinopolitan architecture,
art historians followed the convention and used the term “aniconic” to designate the nature of the wall exterior articulation: a system of semiotic
signifiers disguised as non-representational, non-figural representations of crosses or vegetal patterns but imbued with symbolic values. It is, however, precisely this so-called absence of narrative voice that allows the aniconic decoration to play a substantial role in sacred architecture: the entire surface of the façade as sacred skin and substance of the church turns into a kind of tapestry. Having in mind the variety of previous approaches to the topic, it is interesting to demonstrate the previously unexplored aesthetic connection between the concept of brickwork made by Earth and certain core aspects of transcendental teachings, such as the idea of infiltrating transcendental vision. It is possible to understand these ornaments as the substance of Constantinopolitan architectural content and its intellectual tradition during the Palaiologan dynasty.
King Milutin and the Palaeologan Age International Conference will be held ONLINE. Organizing Committee has re-evaluated the current pandemic situation and taken a definitive decision. We hope that you will be able to join us on Zoom, and look forward to seeing you in October 2021.