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Dr. Anastasia Limberger (*1990 in München) studierte Klassische Archäologie, Orthodoxe Theologie und Philosophie an der LMU München. 2024 wurde sie im Fach Byzantinische Kunstgeschichte mit der Arbeit "'Hymnus und Verehrung im Wort'. Dichter und Dichtung in der Byzantinischen Kunst" promoviert, die mit summa cum laude bewertet und mit dem Preis der Gesellschaft zum Studium des Christlichen Ostens (GSCO) ausgezeichnet wurde.
Seit Mai 2024 ist sie Wissenschaftliche Mitarbeiterin am Lehrstuhl für Systematische Theologie an der Ausbildungseinrichtung für Orthodoxe Theologie der LMU München. Ihre Forschungsschwerpunkte liegen in der byzantinischen und liturgischen Kunst, insbesondere in der Wechselwirkung von Bild, Dichtung und Dogma, sowie in der theologischen und philosophischen Anthropologie. Weitere Interessen gelten der orthodoxen Theologie in der Diaspora, Fragen der Ekklesiologie und der Rezeption patristischer und liturgischer Texte in Gegenwart und Öffentlichkeit.
Dr Anastasia Limberger (born 1990 in Munich) studied Classical Archaeology, Orthodox Theology and Philosophy at Munich Ludwig Maximilian University. In 2024, she earned her doctorate in Byzantine Art History with the dissertation "'Hymn and Verbal Veneration': Poets and Poetry in Byzantine Art," which was awarded summa cum laude and received the prize of the Society for the Study of the Christian East (GSCO).
Since May 2024, she has been a research associate at the Chair of Systematic Theology at the Institute for Orthodox Theology at LMU Munich. Her research focuses on Byzantine and liturgical art, particularly the interaction of image, poetry, and dogma, as well as theological and philosophical anthropology. Further interests include Orthodox theology in the diaspora, questions of ecclesiology, and the reception of patristic and liturgical texts in contemporary contexts and public discourse. Hymnographers occupy a prominent position in Byzantine ecclesiastical art, one that has hitherto been examined only in a fragmentary manner. The present study is devoted to their visual representation and function between the twelfth and fifteenth centuries. At its core lies the question of why certain poets of liturgical chant - John of Damascus, Kosmas Melodos, Joseph the Hymnographer, Theodore the Studite, and Theophanes Graptos - are accorded a distinguished status within monumental pictorial programmes, at times comparable to that of the Evangelists. By combining art-historical analysis with questions drawn from liturgical history and theology, the study redefines the role of hymnography as a structuring and meaning-generating element within Byzantine image programmes.
The first part examines the hymnographers with regard to their vitae, iconography, dress, and characteristic gestures. On this basis, the study identifies features by which they are recognisable as hymnographers, in particular specific gestures associated with singing and distinctive forms of headgear.
The second part is devoted to the pictorial contexts in which hymnographers appear. A key finding is their close association with sepulchral spaces and foundations: in such settings, they frequently function as 'guardians of the dead', accompanying the deceased patron in perpetual worship and attesting to his orthodoxy. In other image types, hymnographers assume a mediating role within New Testament scenes, particularly in the iconography of the Koimesis. Acting from within the pictorial field, they articulate and interpret the depicted events, bringing liturgical experience, visual form, and theological reflection into close alignment. They thus function as bridging figures between earthly and eschatological realms, as well as between the beholder and the image itself.
Particular attention is paid to the individually selected texts inscribed on their scrolls, which serve not merely as identifying attributes but intervene actively in the meaning of the image by interpreting, deepening, and commenting upon the scenes depicted. The hymnographers thus appear as visual embodiments of sung liturgical poetry and contribute significantly to the performative intensification of the church interior.
In its conclusion, the study interprets the function of the hymnographers in terms of a Byzantine form of 'performatism': through text, gesture, and positioning, they generate pictorial spaces that draw the viewer actively into the liturgical event. The study thereby offers a new contribution to the interrelation of hymnography, liturgy, and visual art, demonstrating that the depiction of hymnographers constitutes a deliberate and theologically highly coded element of Byzantine monumental painting. Dr. Anastasia Limberger (*1990 in München) studierte Klassische Archäologie, Orthodoxe Theologie und Philosophie an der LMU München. 2024 wurde sie im Fach Byzantinische Kunstgeschichte mit der Arbeit "'Hymnus und Verehrung im Wort'. Dichter und Dichtung in der Byzantinischen Kunst" promoviert, die mit summa cum laude bewertet und mit dem Preis der Gesellschaft zum Studium des Christlichen Ostens (GSCO) ausgezeichnet wurde.
Seit Mai 2024 ist sie Wissenschaftliche Mitarbeiterin am Lehrstuhl für Systematische Theologie an der Ausbildungseinrichtung für Orthodoxe Theologie der LMU München. Ihre Forschungsschwerpunkte liegen in der byzantinischen und liturgischen Kunst, insbesondere in der Wechselwirkung von Bild, Dichtung und Dogma, sowie in der theologischen und philosophischen Anthropologie. Weitere Interessen gelten der orthodoxen Theologie in der Diaspora, Fragen der Ekklesiologie und der Rezeption patristischer und liturgischer Texte in Gegenwart und Öffentlichkeit.
