Rev. Dn. Dr. Evan Freeman

Rev. Dn. Dr. Evan Freeman

Lecturer in Liturgical Art

Educational Background

  • B.A., Biblical and Theological Studies, Art, Gordon College
  • M.Div., St. Vladimir’s Orthodox Theological Seminary
  • Th.M., St. Vladimir’s Orthodox Theological Seminary
  • M.A., History of Art, Yale University
  • M.Phil., History of Art, Yale University
  • Ph.D., History of Art, Yale University

Teaching Interests

Evan enjoys teaching the art and architecture of late antiquity and the medieval Mediterranean. As a teaching fellow at Yale University and a lecturer at St. Vladimir’s, Evan has taught courses on Byzantine art and architecture, Islamic architecture, Roman architecture, architecture and urban planning of the Italian Renaissance, and a survey of art history (prehistory to Renaissance).

Current Projects and Research Interests

Evan's research interests include art, ritual, and cross-cultural exchange in the medieval Mediterranean. His dissertation, “Ritual Object, Ritual Space: Art, Agency, and Performance in the Middle Byzantine Liturgy,” focuses on the ritual use and experiences of portable objects such as the Eucharistic chalice during the Middle Byzantine period. He is Assistant Director of the Sacred Arts Initiative at St. Vladimir’s, and has organized an academic workshop and conference on “Byzantine Materiality.” He is also interested in Byzantium’s influence on medieval Russian art and architecture, and has published on the twentieth-century “rediscovery” of the icon and subsequent receptions of the icon by Pavel Florensky and other thinkers of the Russian Silver Age and Russian Religious Renaissance.

Recent Courses Taught at SVOTS

  • The Liturgical Space and Practice of Three Hierarchs Chapel

Selected Publications

  • “Flesh and Spirit: Divergent Orthodox Readings of the Iconic Body in Byzantium and the Twentieth Century,” in Personhood in the Byzantine Christian Tradition: Early, Medieval, and Modern Perspectives, ed. Alexis Torrance and Symeon Paschalidis (London and New York: Routledge, 2018), 137-160.
  • Review of Beauty, Spirit, Matter: Icons in the Modern World, by Aidan Hart, St. Vladimir’s Theological Quarterly 60.4 (2016): 523-529.
  • “Rethinking the Role of Style in Orthodox Iconography: The Invention of Tradition in the Writings of Florensky, Ouspensky and Kontoglou” in Church Music and Icons: Windows to Heaven, Proceedings of the Fifth International Conference on Orthodox Church Music, University of Eastern Finland, Joensuu, Finland, 3-9 June 2013 (Joensuu, Finland: International Society for Orthodox Church Music, 2015), 350-369.

Recent Conference Presentations and Activities

  • “Intermaterial icons: ritual transformation of a Byzantine censer in the Metropolitan Museum.” Byzantine Studies Conference. Madison, Wisconsin. October 17-20, 2019.
  • “Art and liturgical reform: Byzantine Eucharistic objects and the development of the Prothesis rite.” Faculty seminar, St. Vladimir’s Orthodox Theological Seminary, Yonkers, NY. February 5, 2019.
  • “Incarnate Images: Rethinking Twentieth-Century Theologies of the Icon,” American Academy of Religion (AAR), Annual Meeting, Eastern Orthodox Studies Unit. Denver, CO. November 17-20, 2018.
  • “Wisdom’s Kraters: Performative Meanings in the Narthex of Justinian’s Hagia Sophia,” Orthodox Theological Society in America, Annual Meeting: “Liturgy and the Arts,” Holy Cross Orthodox School of Theology, Brookline, MA. October 18-20, 2018.
  • “Visualizing Incarnation and Passion in the Middle Byzantine Prothesis Rite,” Medieval-Renaissance Forum, History of Art Department, Yale University, New Haven, Connecticut. March 27, 2018
  • "Ritual Object, Represented Object: Visualizing Liturgy in the Byzantine Church Program,” Medieval Institute, University of Notre Dame, Notre Dame, Indiana. February 17, 2017.
  • “Ressourcement and Innovation: Leonid Ouspensky and the Revival of ‘Traditional’ Iconography in the Twentieth Century,” Sophia Institute – Eighth Annual International Conference: The Sacred Arts of Eastern Orthodoxy: Icon, Music, Rhetoric, Architecture and Artifacts, Union Theological Seminary, New York, New York, 2015
  • “Leonid Ouspensky’s Contributions to Modern Orthodox Iconology and the Challenge of History,” 2014 AATSEEL Conference, American Association of Teachers of Slavic and East European Languages, Chicago, Illinois , 2014
  • “Translating Liturgical Objects: Middle Byzantine Chalices and Two Twelfth Century Kraters from Novgorod,” International Conference of Cyril & Methodios, Museum of Byzantine Culture, Thessaloniki, Greece, 2013
  • “Beyond Style as a Criterion of Orthodoxy: Orthodox Iconatrophy in the Writings of Florensky, Ouspensky, and Kontoglou, and Suggestions for a New Orthodox Iconology,” Church Music and Icons: Windows to Heaven, The International Society for Orthodox Church Music, University of Eastern Finland, Joensuu, Finland, 2013
  • “Iconographic Programming in a Byzantine Manuscript?—Morgan Library M.639,” with Richard Schneider, Canadian Conference of Medieval Art Historians, Carleton University, Ottawa, Canada, 2013
  • “Salvation History and Symbolist Aestheticism: Florovsky's Critique of Florensky's Ecclesiology,” The Body of the Living Christ: The Patristic Doctrine of the Church, Annual Patristic Symposium, Fr. Georges Florovsky Orthodox Christian Theological Society, Princeton University, Princeton, New Jersey, 2012
  • “Mediatrix and Intercessor: The Marian Iconography of the Musée de Cluny’s Byzantine Processional Cross,” Canadian Conference of Medieval Art Historians, University of Toronto, Ontario, Canada, 2011
  • “Entry and Offering: The Marian Iconology of the Cluny Processional Cross,” Archbishop Iakovos Graduate Student Conference in Patristic Studies, Pappas Patristic Institute, Holy Cross Greek Orthodox School of Theology, Brookline, Massachusetts, 2009

Recent Awards

  • Andrew W. Mellon Mediterranean Regional Research Fellowship, 2016
  • Mary Jaharis Center for Byzantine Art & Culture, Dissertation Grant, 2016

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