The Palaeologan Renaissance or Palaiologan Renaissance is the final period in the development of Byzantine art. Coinciding with the reign of the Palaiologoi, the last dynasty to rule the Byzantine Empire (1261–1453), it was an attempt to restore Byzantine self-confidence and cultural prestige after the empire had endured a long period of foreign occupation. The legacy of this era is observable both in Greek culture after the empire's fall and in the Italian Renaissance. Scholars of the time utilized several classical texts.
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👉 Palaeologan Renaissance in the context of Michael VIII Palaiologos
Michael VIII Palaiologos or Palaeologus (Greek: Μιχαὴλ Δούκας Ἄνγελος Κομνηνὸς Παλαιολόγος, romanized: Mikhaḗl Doúkās Ángelos Komnēnós Palaiológos; 1224 – 11 December 1282) reigned as Byzantine emperor from 1261 until his death in 1282, and previously as the co-emperor of the Empire of Nicaea from 1259 to 1261. Michael VIII was the founder of the Palaiologan dynasty that would rule the Byzantine Empire until the Fall of Constantinople in 1453. He recovered Constantinople from the Latin Empire in 1261 and transformed the Empire of Nicaea into a restored Byzantine Empire. His reign saw considerable recovery of Byzantine power, including the enlargement of the Byzantine army and navy. It also included the reconstruction of the city of Constantinople, and the increase of its population. His re-establishment of the University of Constantinople contributed to the Palaeologan Renaissance, a cultural flowering between the 13th and 15th centuries.
It was also at this time that the focus of the Byzantine military shifted to the Balkans, against the Bulgarians, leaving the Anatolian frontier neglected. His successors could not compensate for this change of focus, and both the Arsenite schism and two civil wars which occurred from 1321–1328 and 1341–1347 undermined further efforts toward territorial consolidation and recovery, draining the empire's strength, economy, and resources. Regular conflict between Byzantine successor states such as Trebizond, Epirus, Bulgaria and Serbia resulted in permanent fragmentation of former Byzantine territory and opportunity for increasingly successful conquests of expansive territories by post-Seljuk Anatolian beyliks, most notably that of Osman, later called the Ottoman Empire.
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Palaeologan Renaissance in the context of Mystras
Mystras or Mistras (Greek: Μυστρᾶς/Μιστρᾶς), also known in the Chronicle of the Morea as Myzethras or Myzithras (Μυζηθρᾶς), is a fortified town and a former municipality in Laconia, Peloponnese, Greece. Situated in the Taygetus range, above ancient Sparta, and below a "Frankish" castle, it served as the capital of the Byzantine Despotate of the Morea in the 14th and 15th centuries, experiencing a period of prosperity and cultural flowering during the Palaeologan Renaissance, including the teachings of Gemistos Plethon. The city also attracted artists and architects of the highest quality.
Mystras remained inhabited throughout the Ottoman period, when Western travellers mistook it for ancient Sparta. In the 1830s, it was abandoned and the new town of Sparta was built, approximately eight kilometres to the east. Since the 2011 local government reform it is part of the Sparta municipality. As an exceptionally well-preserved example of a Byzantine city and because of its testimony to the development of Late Byzantine and Post-byzantine art, Mystras was inscribed on the UNESCO World Heritage List in 1989.
Palaeologan Renaissance in the context of Nikolaos Philanthropinos
Nikolaos Philanthropinos (Greek: Νικόλαος Φιλανθρωπηνός, c. 1380–1385 – c. 1435–1450), also known as Nicolaos Philanthropenos and Nicolaus Filantropinó or Philastropino, was a Byzantine Greek painter. He was active in Crete, Venice, and Constantinople. He was a very famous painter during the onset of the Italian Renaissance, the end of the Palaeologan Renaissance and the beginning of the Greek Renaissance. He worked with Venetian master Nicolaus Storlado. His contemporaries in Crete were Manuel Fokas and Ioannis Pagomenos. He brought the art of Constantinople to Venice and Crete. He influenced both Greek and Italian art. Artists he influenced include: Angelos Akotantos and Andreas Ritzos. He completed some mosaics for St Mark's Basilica in Venice.