Gerçek Haç

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• Azara P. Azara, La representation des modeles dans l’art ancien: un embleme de la creation architecturale? Maquettes
• architecturales de l’Antiquite, Actes du colloque de Strasbourg, Paris.
• Bošković Đ. Bošković, “Sur quelques maîtres - maçons et maître - peintres des premieres décades du XIVe s . en Serbie et en Macédoine”, Starinar , –
• Bulgakov S. Bulgakov, The Burning Bush On the Orthodox Veneration of the Mother of God, Cambridge.
• Bührer–Thierry G. Bührer–Thierry, “Lumière et pouvoir dans le haut moyen âge occidental. Célébration du pouvoir et
• métaphores lumineuses”, MEFRM , –
• Cvetković B. Cvetković, Enkolpion and Pectoral (12–14th Century), Trsat Reliquary: History–Epigraphy–Iconography, Jagodina, –
• Danker F. W. Danker (rev. and ed.), A Greek–English Lexicon of the New Testament and Other Early Christian Literature, Chicago.
• Evangelatou M. Evangelatou, “Krater of Nectar and Altar of the Bread of Life: The Theotokos as Provider of the Eucharist in Byzantine Culture”, T. Arentzen - M. Cunningham (eds.), The Reception of the Virgin in Byzantium: Marian
• Narratives in Texts and Images, Cambridge,
• Featherstone J. M. Featherstone (ed. and trans.), Theodore Metochites’s Poems “To Himself”, Byzantina Vindobonensia 23, Vienna.
• Filotheou G. Filotheou, “The God Trodden Mount Sinai Holy Monastery (Saint Catherine)”, M. Kazakou - V. Skoulas (eds.), Egeria: Mediterranean Medieval Places of Pilgrimage Network for the Documentation, Preservation and Enhacement of Monuments in the Euromediterranean Area, Athens,
• Foley - Bangert E. Foley - M. P. Bangert, Worship Music: A Concise Dictionary, Collegeville. Grabar A. Grabar, L’Empereur dans l’Art byzantin, London.
• Hjort Ø. Hjort, “The Sculpture of the Kariye Camii”, DOP 33,
• Isar N. Isar, “Chorography (Chôra, Chôros, Chorós): A Performative Paradigm of Creation of Sacred Space in Byzantium”, A. Lidov (ed.), Hierotopy: The Creation of Sacred Space in Byzantium and Medieval Russia, Moscow,
• James L. James, Light and colour in Byzantine Art, Oxford.
• Janes D. Janes, God and Gold in Late Antiquity, Cambridge.
• Kalavrezou–Maxeiner I. Kalavrezou–Maxeiner, “Portraits and Portraiture: Donor Portraits”, A. Kazhdan (ed.), The Oxford Dictionary of Byzantium 3, Oxford,
• Kazhdan A. Kazhdan, “Ktetor”, A. Kazhdan (ed.), Oxford Dictionary of Byzantium 2, New York and Oxford,
• Klein H. A. Klein, “Sacred Relics and Imperial Ceremonies at the Great Palace of Constantinople”, BYZAS 5, 79–
• Klein et al. H. A. Klein - R. Ousterhout - B. Pitarakis (eds.), Kariye Camii, Yeniden / The Kariye Camii Reconsidered, İstanbul.
• Klein H. A. Klein, “The Crown of His Kingdom: Imperial Ideology, Palace Ritual and the Relics of Christ’s Passion”, M. Featherstone - J. M. Spieser - G. Tanman - U. Wulf–Rheidt (eds.), The Emperor’s House. Palaces from
• Augustus to the Age of Absolutism, Berlin, –
• Lafontaigne-Dosogne J. Lafontaigne-Dosogne, “Iconography of the Cycle of the Infancy of. Christ”, P. A. Underwood (ed.), Studies in the art of the Kariye Djami and its intellectual background, Princeton,
• Magdalino P. Magdalino, “Theodore Metochites, the Chora, and Constantinople”, H. A. Klein - R. Ousterhout - B. Pitarakis (eds.), Kariye Camii, Yeniden/The Kariye Ca mii Reconsidered, İstanbul, Mango C. Mango, The Brazen House: a study of the vestibule of the Imperial Palace of Constantinople, Front Munksgaard.
• Matheou et al. N. S. M. Matheou - T. Kampianaki - L. M. Bondioli, From Constantinople to the Frontier: The City and the cities, Leiden-Boston.
• Nelson R. Nelson, The Chora and the Great Church. Intervisuality in 14th century Constantinople, Byzantine and Modern Greek Studies 23, 67–
• Olkinoura J. Olkinuora, Byzantine Hymnography for the Feast of the Entrance of the Theotokos: An Intermedial Approach. Studia Patristica Fennica 4, Helsinki.
• Ousterhout R. Ousterhout, The Architecture of the Kariye Camii in Istanbul, Dumbarton Oaks Studies 25, Washington.
• Ousterhout R. Ousterhout, “The Virgin of the Chora: An Image and Its Contexts”, R. Ousterhout - L. Brubaker (eds.), The Sacred Image 13, East and West, Urbana,
• Ousterhout R. Ousterhout, The Art of the Kariye Camii, Istanbul-London. Popović B. Popović, Visoke kape–klobuci iz manastira Resave i turban Teodora Metohita, Zbornik Narodnog muzeja – Beograd XIX / 2, Istorija umetnosti, Beograd, 91–
• Schibille N. Schibille, Hagia Sophia and the Byzantine Aesthetic Experience, Inbunden.
• Ševčenko I. Ševčenko, “Theodore Metochites, the Chora, and the Intellectual Trends of His Time”, The Kariye Djami, vol. 4, New York,
• Teteriatnikov N. Teteriatnikov, “Devotional crosses in the columns and walls of Hagia Sophia“, Byzantion 68, 2,
• Teteriatnikov N. Teteriatnikov, “Relics in Walls, Pillars and Columns of Byzantine Churches”, A. Lidov (ed.), Eastern Christian Relics, Moscow,
• Trifunović Đ. Trifunović, Žitije Svetog Save Teodorsija Hilandarca, izd. Đ. Daničić, prir. Đ. Trifunović, Beograd.
• Underwood P. A. Underwood, The Kariye Djami, vol. 3, New York.
• Underwood P. A. Underwood (ed.), The Kariye Djami, vol. 4, New York.
• Velmans T. Velmans, Un témoignage sur la société: les images des contemporains, in La peinture murale byzantine à la fin du Moyen Age (Bibliothèque des CahA, 11), Paris, 69–97

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