The Chôra of Dionisy’s Wall-Painting (1500-1502) at the Nativity of the Mother of God sobor, Ferapontovo Monastery

The structure, spatiality, and wall-paintings of the Nativity church together emulated the Platonist Chôra through transparency, fluidity, circular movement, veils, and Marian imagery. Dionisy’s wall-paintings are studied through a phenomenological lens, considering the process as a reflection of he...

Full description

Bibliographic Details
Main Author: Shevelkina, Maria M
Format: Thesis
Language:English
Published: CUNY Academic Works 2020
Subjects:
Dionisy
Chôra
Mary
Pseudo-Dionysius
wall-painting
Russia
spatiality
hesychasm
Post-Byzantine
Platonism
Ancient
Medieval
Renaissance and Baroque Art and Architecture
Marian
Russian North
Online Access:https://academicworks.cuny.edu/hc_sas_etds/548
https://academicworks.cuny.edu/cgi/viewcontent.cgi?article=1612&context=hc_sas_etds
Description
Summary:The structure, spatiality, and wall-paintings of the Nativity church together emulated the Platonist Chôra through transparency, fluidity, circular movement, veils, and Marian imagery. Dionisy’s wall-paintings are studied through a phenomenological lens, considering the process as a reflection of hesychast thought in the post-Byzantine Russian north.

Similar Items