Bissera V Pentcheva
Biographic Data
| ID | 1034132 |
|---|---|
| NAME | Bissera V Pentcheva |
| GIVEN NAMES | Bissera V |
| FAMILY NAME | Pentcheva |
| SIGNATURE | PENTCHEVA B V |
| AFFILIATIONS | Stanford University |
| ORCID | 0000-0003-3882-2803 |
| VERIFIED | Yes |
| TOTAL WORKS | 16 |
| TOTAL CITATIONS | 16 |
| WORKS AS AUTHOR | 15 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 3 |
Chiasm in choros
The Virgin Mary and Sainte-Foy
Using the evidence of Aquitanian chants, this article explores the possibility that a twelfth-century relief panel of the Annunciation today in the interior of Conques was originally designed for the West facade, where it completes the composition of the divine plan of Salvation. This hypothetic reconstruction also uncovers the important role of the patron saint, Sainte-Foy, and how she is promoted as second after Mary and efficacious intercessor
Phenomenology of Light
Focusing on the glitter of gold in a fourteenth-century Byzantine cross—today inserted in the famous reliquary of Cardinal Bessarion, Venice, Gallerie dell’Accademia—this chapter uncovers the important role phenomenology plays in the study of the spiritual operations of medieval art. The analysis draws on the inscriptions written on the cross in order to explore how gold’s sparkle functions as a vision of Paradise nourished by the Byzantine litur…
Divine Anamorphosis. The Phenomenality of Gold and Chant in a Fourteenth-Century Antiphonary from Santa Maria sopra Porta
The music inscribed in a Florentine Antiphonary (collection of Robert and Katherine Burke, now held at Stanford University) shows a continuation of the long medieval liturgical tradition (Roman usage) of chant. Analysis of the codex reveals how the melodic designs of two responsories shape the semantics of the text. The two chants are singled out by the two figural initials, allegedly painted around 1430 by Zanobi Strozzi (ca. 1412-1468) though n…
Hagia Sophia
Hagia Sophia:Byzantine Alterity in the Core of Ottoman Identity Bissera V. Pentcheva (bio) KEYWORDS Hagia Sophia, Byzantine, Ottoman Hagia Sophia is a masterpiece of world architecture and art (Fig. 1). Within it, two religions share a vision of heaven: a unity-within-diversity. Remarkably, the chief figure of this conciliatory gesture was no less than Mehmed II the Conqueror. Gülru Necipoğlu, in her important study of the Ottoman use of Hagia So…
Icons of Sound
Performative Images and Cosmic Sound in the Exultet Liturgy of Southern Italy
Optical and Acoustic Aura in the Medieval Image
This study explores optical and sonic brightness-aura-in the medieval church interior by focusing on one object: the golden retable of the Pentecost at Stavelot (Belgium). Its metal surface changes and becomes radiant in candlelight, in contrast to its static and dormant presence in the steady electric light of the standard museum display. This phenomenon-ephemeral brightness-was purposefully activated in the medieval ritual in order to offer the…
Icons of Sound
Previous article FreeIcons of Sound: Auralizing the Lost Voice of Hagia SophiaBissera V. Pentcheva and Jonathan S. AbelBissera V. Pentcheva and Jonathan S. AbelBissera V. Pentcheva, Stanford University ([email protected])Jonathan S. Abel, Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University ([email protected])PDFPDF PLUSFull TextSupplemental Material Add to favoritesDownload CitationTrack CitationsPermissionsReprints…
The aesthetics of landscape and icon at Sinai
Moving Eyes
Byzanz, der Westen und das "Wahre" Kreuz
Containers of Power
Visual Textuality
The supernatural protector of Constantinople
Previous scholarship has maintained that icons of the Virgin were carried in procession during the Avar siege of Constantinople in A.D. 626. Based on a close reading of the primary sources from the seventh to the fourteenth centuries, this paper will argue in contrast that a tight linkage between Marian icons and protection of the Byzantine capital did not occur until after Iconoclasm. The larger implications of this conclusion concern the evolut…
Rhetorical Images of the Virgin
The supernatural protector of Constantinople
Previous scholarship has maintained that icons of the Virgin were carried in procession during the Avar siege of Constantinople in A.D. 626. Based on a close reading of the primary sources from the seventh to the fourteenth centuries, this paper will argue in contrast that a tight linkage between Marian icons and protection of the Byzantine capital did not occur until after Iconoclasm. The larger implications of this conclusion concern the evolut…
Optical and Acoustic Aura in the Medieval Image
This study explores optical and sonic brightness-aura-in the medieval church interior by focusing on one object: the golden retable of the Pentecost at Stavelot (Belgium). Its metal surface changes and becomes radiant in candlelight, in contrast to its static and dormant presence in the steady electric light of the standard museum display. This phenomenon-ephemeral brightness-was purposefully activated in the medieval ritual in order to offer the…
Icons of Sound
Previous article FreeIcons of Sound: Auralizing the Lost Voice of Hagia SophiaBissera V. Pentcheva and Jonathan S. AbelBissera V. Pentcheva and Jonathan S. AbelBissera V. Pentcheva, Stanford University ([email protected])Jonathan S. Abel, Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University ([email protected])PDFPDF PLUSFull TextSupplemental Material Add to favoritesDownload CitationTrack CitationsPermissionsReprints…
Performative Images and Cosmic Sound in the Exultet Liturgy of Southern Italy
Chiasm in choros
The aesthetics of landscape and icon at Sinai
Rhetorical Images of the Virgin
The supernatural protector of Constantinople
Previous scholarship has maintained that icons of the Virgin were carried in procession during the Avar siege of Constantinople in A.D. 626. Based on a close reading of the primary sources from the seventh to the fourteenth centuries, this paper will argue in contrast that a tight linkage between Marian icons and protection of the Byzantine capital did not occur until after Iconoclasm. The larger implications of this conclusion concern the evolut…
Visual Textuality
Byzanz, der Westen und das "Wahre" Kreuz
Containers of Power
Moving Eyes
The aesthetics of landscape and icon at Sinai
Icons of Sound
Previous article FreeIcons of Sound: Auralizing the Lost Voice of Hagia SophiaBissera V. Pentcheva and Jonathan S. AbelBissera V. Pentcheva and Jonathan S. AbelBissera V. Pentcheva, Stanford University ([email protected])Jonathan S. Abel, Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University ([email protected])PDFPDF PLUSFull TextSupplemental Material Add to favoritesDownload CitationTrack CitationsPermissionsReprints…
Icons of Sound
Performative Images and Cosmic Sound in the Exultet Liturgy of Southern Italy
Optical and Acoustic Aura in the Medieval Image
This study explores optical and sonic brightness-aura-in the medieval church interior by focusing on one object: the golden retable of the Pentecost at Stavelot (Belgium). Its metal surface changes and becomes radiant in candlelight, in contrast to its static and dormant presence in the steady electric light of the standard museum display. This phenomenon-ephemeral brightness-was purposefully activated in the medieval ritual in order to offer the…
Phenomenology of Light
Focusing on the glitter of gold in a fourteenth-century Byzantine cross—today inserted in the famous reliquary of Cardinal Bessarion, Venice, Gallerie dell’Accademia—this chapter uncovers the important role phenomenology plays in the study of the spiritual operations of medieval art. The analysis draws on the inscriptions written on the cross in order to explore how gold’s sparkle functions as a vision of Paradise nourished by the Byzantine litur…
Divine Anamorphosis. The Phenomenality of Gold and Chant in a Fourteenth-Century Antiphonary from Santa Maria sopra Porta
The music inscribed in a Florentine Antiphonary (collection of Robert and Katherine Burke, now held at Stanford University) shows a continuation of the long medieval liturgical tradition (Roman usage) of chant. Analysis of the codex reveals how the melodic designs of two responsories shape the semantics of the text. The two chants are singled out by the two figural initials, allegedly painted around 1430 by Zanobi Strozzi (ca. 1412-1468) though n…
Hagia Sophia
Hagia Sophia:Byzantine Alterity in the Core of Ottoman Identity Bissera V. Pentcheva (bio) KEYWORDS Hagia Sophia, Byzantine, Ottoman Hagia Sophia is a masterpiece of world architecture and art (Fig. 1). Within it, two religions share a vision of heaven: a unity-within-diversity. Remarkably, the chief figure of this conciliatory gesture was no less than Mehmed II the Conqueror. Gülru Necipoğlu, in her important study of the Ottoman use of Hagia So…
The Virgin Mary and Sainte-Foy
Using the evidence of Aquitanian chants, this article explores the possibility that a twelfth-century relief panel of the Annunciation today in the interior of Conques was originally designed for the West facade, where it completes the composition of the divine plan of Salvation. This hypothetic reconstruction also uncovers the important role of the patron saint, Sainte-Foy, and how she is promoted as second after Mary and efficacious intercessor
Chiasm in choros
Art (15 works) · Art history (10 works) · Literature (10 works) · History (9 works) · Byzantine Studies and History (8 works) · Computer Science (7 works) · Philosophy (7 works) · Theology (7 works) · Historical and Religious Studies of Rome (6 works) · Aesthetics (5 works)