Another important view on this subject is offered by Thalia Gouma-Peterson. She explains the term “byzantinising” mainly from an art historical point of view. According to her, byzantinising refers to a stylistic approach in icon painting that appeared in the post-Byzantine period. This means that artists did not simply copy old Byzantine icons, but instead followed their style, spirit, and visual language while adapting them to new conditions. Although Gouma-Peterson does not discuss the concept in great detail, her definition is still very useful. It helps scholars understand how artists balanced tradition and change in religious painting Icon Painting Instructions in Hermenia.
In addition, the term can also be used in a broader sociological discussion of art. It shows how artistic production is shaped not only by painters but also by society, religion, and cultural expectations. Therefore, “byzantinising” is not just a technical style; it is also a reflection of cultural continuity and identity in Orthodox communities after the fall of Byzantium.
Byzantinism and Byzantinising in Post-Byzantine Art
The concepts of “Byzantinism” and “byzantinising” became especially important between the seventeenth and nineteenth centuries. During this time, icon painting continued to develop within Greek Orthodox societies. These terms describe both a shared mindset and a visual tradition. They are key features that help us identify post-Byzantine icons and understand their artistic language Ephesus Sightseeing Tours.
At the same time, the patrons and commissioners of these icons were influenced by the spirit of their age, often called the zeitgeist. They did not live in isolation but were part of a changing world that included new political, economic, and cultural influences. As a result, the icons they ordered reflected both tradition and contemporary tastes. This shows that religious art was not static but dynamic and responsive to social change.
Artistic Discourse Reflected in the Icons
The icons discussed in this study clearly represent the artistic discourse of their time. The byzantinising approach does not mean a simple return to the exact models of Byzantine painting. Instead, it involves a creative adaptation of traditional elements such as composition, symbolism, and religious themes. Artists respected Byzantine heritage, but they also introduced new visual details, techniques, and stylistic features.
For example, some icons include elements that come from different cultural environments, such as Western artistic influences or local artistic traditions. These additions do not weaken the Orthodox message of the icons. On the contrary, they show how flexible and resilient this artistic tradition was. The painters did not aim to produce exact copies of earlier Byzantine works. Rather, they created new images within a byzantinising framework that combined tradition with innovation.
Tradition, Local Influences, and the Spirit of the Age
Another important point is that these icons often reflect local characteristics and regional identities. Artists worked in different cultural landscapes, and this affected their style and artistic choices. Therefore, each icon may show unique local features while still remaining connected to the broader Byzantine tradition. This mixture of local particularity and shared tradition is a defining aspect of post-Byzantine icon painting.
The inclusion of elements related to the zeitgeist also demonstrates that artists were aware of their historical context. They lived in a world shaped by trade, migration, and cultural exchange. These factors influenced both artistic production and audience expectations. As a result, icons became more than purely religious objects; they also functioned as cultural expressions of their time.
The Orthodox Message and Artistic Intent
Despite these stylistic developments, the main concern of the painters remained the Orthodox religious message. The subject matter, symbolism, and spiritual meaning were always central. Even when new stylistic influences appeared, the theological content stayed consistent with Orthodox tradition. This shows that innovation did not replace tradition but worked alongside it.
In conclusion, the byzantinising attitude in post-Byzantine icon painting represents a complex artistic process. It combines respect for Byzantine artistic principles with openness to new influences and local variations. Rather than being simple imitations of earlier works, these icons are thoughtful creations shaped by tradition, society, and the cultural spirit of their time.
