The paper studies the typology of the initials following the way of construction of their corpus in the mutual ties in the development – departing from the late antique, considering the Byzantine and Pre-Romanesque and Romanesque types. The modifications of the initials are studied together with the changes of their function in the decoration system and in the cultural-historical context. The contribution also studies the changes of the terminology connected with the typology of the initials.
The paper studies the typology of the initials following the way of construction of their corpus in the mutual ties in the development – departing from the late antique, considering the Byzantine and Pre-Romanesque and Romanesque types. The modifications of the initials are studied together with the changes of their function in the decoration system and in the cultural-historical context. The contribution also studies the changes of the terminology connected with the typology of the initials.
The paper studies the typology of the initials following the way of construction of their corpus in the mutual ties in the development – departing from the late antique, considering the Byzantine and Pre-Romanesque and Romanesque types. The modifications of the initials are studied together with the changes of their function in the decoration system and in the cultural-historical context. The contribution also studies the changes of the terminology connected with the typology of the initials.
The paper is engaged with a definition of the typolotgy and modifications fo the caligraphic initials, compared with the typology of painted initials, and also with a comparative study of the terminoloty used in different languages for the specific compositions. The interest is also focused on relations among countries, regions and workshops that participated in the transformations of the caligrafic initials. The subject is studied on a broad period, from the Late Antiquity till the 16th century, but without a typology of fleuronée, only compositions of the body of the initials have been taken into consideration.
This paper focuses on the development of various types of drawn linear ornamentation and the changes in their functions in the manuscripts of late antiquity, Byzantium (to the 15th century) and the Latin West (up to and including the 11th century). This subject is examined in a comparison of the above cultural spheres and within the context of decoration in period applied art (particularly gold and textile work) and monumental painting and sculpture associated with architecture. The basics are also outlined for a study of the linear decoration of gothic manuscripts, which will be covered in another paper.