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The ''loros'' () was a long, narrow and embroidered scarf, embroidered with gold and heavily embellished with gems, which was wrapped around the torso and dropped over the left hand. It was one of the most important and distinctive parts of the most formal and ceremonial type of imperial Byzantine costume, worn only by the Imperial family and a few of the most senior officials. It developed out of the ''trabea triumphalis'' of the Roman consuls. There were different male and female versions.〔Parani, 25-27 on the female version〕 Byzantine sources speak of the "''loros'' costume" as the ''loros'' dictated the rest of the imperial outfit. The slightly less formal, and more secular, imperial costume, which was also that normally worn by high officials on official occasions, was the ''chlamys'' costume.〔Parani, 11-18〕 ==Male== The first representations of the ''loros'' are on coins from the reign of Justinian II (r. 685–695 and 705–711).〔Parani, 18〕 Until the 10th century, the male ''loros'' was wrapped around the torso in a specific way, following the ancient ''trabea''. However, increasingly from the 11th century, the ''loros'' acquired a new design. The new ''loros'' had a loop that went round the neck and was pulled on over the head.〔Parani, 19〕 By the Komnenian dynasty, the old ''loros'' was completely abandoned, after a period when both designs are seen.〔Parani, 20〕 By the 14th century the strip down the front may have been sewn onto the tunic beneath, and the ''loros'' may have been called a ''diadema'' instead.〔Parani, 22-23〕 Despite the modifications, the ''loros'' was the most important part of the imperial costume up until the end of the empire in the 15th century. Although in practice it was, according to the ''De Ceremoniis'' by Constantine VII, worn only in exceptional occasions such as on Easter Sunday, Pentecost, sometimes other feasts, and to receive important foreign visitors, the ''loros'' was an integral part of imperial portraiture. In earlier periods it was worn in triumphal processions.〔Parani, 23-24〕 The ''loros'' was also worn at Easter by the "twelve dignitaries", holders of the ranks of ''magistros'' and ''anthypatos'', as well as by the Eparch of Constantinople and the ''zoste patrikia'' during the ceremonies of their promotion.〔Parani, 35〕 It was said to symbolize the winding-sheet of Christ, with the officials as the Twelve Apostles.〔Parani, 23-24〕 It is also worn by archangels in Byzantine art,〔Parani, 20, notes〕 which spread to medieval art in the West, as they were regarded as the high officials of God. It seems the ''loros''-costume was not worn at the coronation of the Emperor, although he was given it in the course of the ceremony, and when crowned by Christ in art always wears it.〔Parani, 14, 24; the point is somewhat unclear〕 From the 13th century the ''loros'' began to be shown worn in imperial portraits of other Orthodox rulers, such those of Serbia, Georgia and the Armenian Kingdom of Cilicia. In the Bulgarian Gospels of Tsar Ivan Alexander, the tsar and his son both wear it.〔Evans, Helen C. (ed.), ''Byzantium, Faith and Power (1261–1557)'', 8, 2004, Metropolitan Museum of Art/Yale University Press, ISBN 1588391140, (Fully online from the Metropolitan Museum of Art )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「loros」の詳細全文を読む スポンサード リンク
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