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Books > Arts & Architecture > History of art / art & design styles > 500 CE to 1400 > General
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Gothic Art
(Hardcover)
Victoria Charles, Klaus H. Carl
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R992
Discovery Miles 9 920
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Ships in 12 - 19 working days
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Ross provides a broad survey of pictures and texts concerning
saints, from the Early Christian through the late Gothic period.
Both Western and Byzantine material is included. Beginning with the
earliest pictures of and stories about saints, the book traces the
evolution of hagiographic imagery primarily in manuscript contexts.
Because of its cross-disciplinary nature, it will be of interest to
audiences interested in Early Christian, Byzantine, and Western
medieval culture: religion, society, politics, and art. No other
book to date is organized similarly in providing detailed
descriptions for the identification of medieval manuscripts with
hagiographic texts and illustrations.
In the early 1800's, on a Hebridean beach in Scotland, the sea
exposed an ancient treasure cache: 93 chessmen carved from walrus
ivory. Norse netsuke, each face individual, each full of quirks,
the Lewis Chessmen are probably the most famous chess pieces in the
world. Harry played Wizard's Chess with them in Harry Potter and
the Sorcerer's Stone. Housed at the British Museum, they are among
its most visited and beloved objects. Questions abounded: Who
carved them? Where? Ivory Vikings explores these mysteries by
connecting medieval Icelandic sagas with modern archaeology, art
history, forensics, and the history of board games. In the process,
Ivory Vikings presents a vivid history of the 400 years when the
Vikings ruled the North Atlantic, and the sea-road connected
countries and islands we think of as far apart and culturally
distinct: Norway and Scotland, Ireland and Iceland, and Greenland
and North America. The story of the Lewis chessmen explains the
economic lure behind the Viking voyages to the west in the 800s and
900s. And finally, it brings from the shadows an extraordinarily
talented woman artist of the twelfth century: Margret the Adroit of
Iceland.
This volume presents contributions to the conference Old English
Runes Workshop, organised by the Eichstatt-Munchen Research Unit of
the Academy project Runic Writing in the Germanic Languages (RuneS)
and held at the Catholic University of Eichstatt-Ingolstadt in
March 2012. The conference brought together experts working in an
area broadly referred to as Runology. Scholars working with runic
objects come from several different fields of specialisation, and
the aim was to provide more mutual insight into the various
methodologies and theoretical paradigms used in these different
approaches to the study of runes or, in the present instance more
specifically, runic inscriptions generally assigned to the English
and/or the Frisian runic corpora. Success in that aim should
automatically bring with it the reciprocal benefit of improving
access to and understanding of the runic evidence, expanding and
enhancing insights gained within such closely connected areas of
study of the Early-Mediaeval past.
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Inferno
(Hardcover)
Dante Alighieri; Translated by J Simon Harris
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R799
R715
Discovery Miles 7 150
Save R84 (11%)
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Ships in 10 - 15 working days
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Author portraits are the most common type of figural illustration
in Greek manuscripts. The vast majority of them depict the
evangelists Matthew, Mark, Luke, and John. Being readily comparable
to one another, such images illustrate the stylistic development of
Byzantine painting. In addition, they often contain details which
throw light on elements of Byzantine material culture such as
writing utensils, lamps, domestic furniture, etc. This corpus
offers catalogue descriptions of all evangelist portraits that
survived from the Middle Byzantine period, i.e. from the mid-ninth
to mid-thirteenth century. Items are arranged in roughly
chronological order and are grouped according to common
compositional types: readers will thus be able to trace
iconographic similarities by going through a series of adjacent
entries and to distinguish period styles by browsing through larger
blocks of entries. The book thus provides, in effect, a selective
survey of middle-Byzantine painting. A surprisingly large number of
Byzantine evangelists portraits remain unpublished: seventy-five of
the miniatures reproduced in this volume have never appeared in
print before.
The dominant form of Ottoman pictorial art until the eighteenth
century, miniatures have traditionally been studied as reflecting
the socio-historical contexts, aesthetic concerns and artistic
tastes of the era within which they were produced. Begum Ozden
Fyrat proposes instead a radical re-reading of seventeenth- and
eighteenth-century miniatures in the light of contemporary critical
theory, highlighting the viewer's encounter with the image.
Encounters with the Ottoman Miniature employs contemporary concepts
such as the gaze, frame/framing, reading and re-reading, drawing on
thinkers such as Walter Benjamin, Roland Barthes and Gilles Deleuze
to establish the vibrant cultural agency of miniature paintings.
With analysis that illuminates both the social and political
situations in which these miniatures were painted as well as
emphasising the miniature's contemporary relevance, Firat presents
an important new re-imagining of this art form.
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