Abstract
The historiography of the wall painting in the medieval church at Boiana is a representative case in the current critical discussion of basically empiricist approaches and more overtly theoretical methods of modern scholarship described as coexisting as parallel universes in art history today. The parameters of this critical discourse offer an appropriate perspective in which to consider the historiography of these thirteenth-century schemes of wall painting in the Balkans. In turn, this exercise is useful in pointing out new directions in which reappraisals of the wall paintings at Boiana can contribute to the field of Byzantine studies.
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