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Books > Arts & Architecture > History of art / art & design styles > 500 CE to 1400 > General
The Byzantine era was a time of the formation of the Abrahamic
religions and a battleground for people's hearts and minds. This
book shows that, during the time of the Byzantine Empire, the
synagogues in Palaestina developed a visual language adhering to
traditional literary sources. Until now, scholars believed that
Judaism was oblivious to all art forms, regarding them as mere
"decoration." This book shows that, contrary to those beliefs,
Jewish art was, in fact, flourishing in this period. The visual
language that emerged is a trope that utilizes literal and
figurative readings to arrive at an inquisitive mixture-a probing
language that facilitates learning. It is a visual language of
"becoming," of inward introspection and outward scrutiny. This new
analysis goes beyond the limits of compositional rules, and
requires an analytical, as well as emotive, thought process, to
form a cultural interpretation that reveals the hidden language.
This means that some parts of Judaism and some parts of
Christianity were in agreement despite the commandment of "Thou
shalt not make unto thee any graven image," and operated under the
assumption that paintings were not necessarily the creation of
idols. Thus, we see that the modern movements of art and
architecture were not the first to deal with images through themes
such as abstraction and denotation. The language developed during
the Byzantine period could rival the best of such visual languages.
This groundbreaking collection of essays by a host of international
authorities addresses the many aspects of the Danse Macabre, a
subject that has been too often overlooked in Anglo-American
scholarship. The Danse was once a major motif that occurred in many
different media and spread across Europe in the course of the
fifteenth century, from France to England, Germany, Scandinavia,
Poland, Spain, Italy and Istria. Yet the Danse is hard to define
because it mixes metaphors, such as dance, dialogue and violence.
The Danse Macabre aimed to confront viewers and readers with the
prospect of their own demise by showing how Death summons each and
every one of us-whether high or low, young or old, rich or poor. It
functioned both as a text and as a visual theme, and often in
combination, while also lending itself well to performance. Now
best known through the satirical woodcuts of Hans Holbein the
Younger, the motif was one of several 'macabre' themes that
developed alongside the moralising tale of the Three Living and the
Three Dead and the stark depiction of the cadaver on tomb
monuments. The Danse Macabre was influenced by earlier themes, but
thanks to its versatility its own impact went much further. As this
corpus of innovative research will show, the Danse inspired
sculptors, portrait artists, authors and dramatists such as
Shakespeare far more than has been recognised until now. From the
mural in 1420s Paris and John Lydgate's poem to the subsequent
dissemination in print, Mixed Metaphors will reveal the lasting
influence of the Danse on European culture from the Middle Ages to
the present day.
The early Christian and medieval mosaics in Italy are among the
most artistic creations of their time. Richly endowed with
magnificent color plates, this opulent volume draws on 19
outstanding mosaic decorations to present a comprehensive panorama
of this spectacular form of art. Early Christian apse mosaics and
mosaic cycles provided for monumental beginnings to Christian
pictorial art. Although supplemented by new images since the 12th
Century, the early Christian themes were held in high regard up
through the Middle Ages. During the Middle Ages, the mosaic's
stylistic devices already showed a transcendental-Christian
compliant world view. The author's knowledge becomes apparent in
his descriptions of the development of mosaic art in Italy, whose
centers during the early years were found in Rome and Ravenna.
Since the 6th century, the presentations see an increasingly
byzantine influence. After a prolonged interruption there came a
brief revival in Rome around the year 800, but mosaic art only
reached full fruition during the 12th and 13th centuries when, in
addition to Rome, mosaic cycles became evident in Venice, Sicily,
and Florence. These drew heavily from byzantine inspiration. German
text.
Medieval churchmen typically defended religious art as a form of "book" to teach the unlettered laity their faith, but in late medieval England, Lollard accusations of idolatry stimulated renewed debate over image worship. Popular Piety and Art in the Late Middle Ages places this dispute within the context of the religious beliefs and devotional practices of lay people, showing how they used and responded to holy images in their parish churches, at shrines, and in prayer books. Far more than substitutes for texts, holy images presented a junction of the material and spiritual, offering an increasingly literate laity access to the supernatural through the visual power of "beholding."
Das Werk ist die erste systematische Studie der illustrierten
Homilien des wohl bedeutendsten byzantinischen Kirchenlehrers. Die
bislang wenig oder gar nicht bekannten Manuskripte werden mittels
neuer methodischer Ansatze prasentiert und in ihrem jeweiligen
Entstehungskontext gewurdigt. Immer wieder eroffnet die Studie auch
interessante Einblicke in die Organisation von Werkstatten der
Buchproduktion. Im Mittelpunkt steht die stilistische und
ikonographische Untersuchung der Miniaturen sowie die Analyse ihrer
verschiedenartigen Textbezuge. Anhand zeitgenossischer Quellen
werden auch die Benutzungsarten der Homiliare sowie der Rang des
Johannes Chrysostomos und seiner Texte in Byzanz beschrieben.
Facsimile. Das aMatutinalbuch aus Scheyerno enthalt wichtige
Zeugnisse romanischer Buchmalerei des fruhen 15. Jahrhunderts im
eutschen Sprachraum und erweist sich durch die Vielfalt der
beigebundenen Texte und Bilder als ein uber den liturgischen Raum
hinaus bedeutendes Zeitdokument. Das Matutinale enstand zwischen
1215 und 1225 im Auftrag des Abtes Conrad I. im Kloster Scheyern
und gehorte zu den ersten Ausstattungsgegestanden der neuen, Maria
geweihten Kirche. Das groaformatige, reich illuminierte Buch war in
erster Linie fur den nachtlichen Gottesdienst (Matutin) bestimmt -
die Blatter zeigen die Spuren intensiver Benutzung, auch
gelegentliche Wachs- oder Talgflecken. Der faksimilierte
Bilderzyklus enthalt die monumentale Darstellung des
apokalyptischen Weibes mit dem Drachen, aber auch andere
ikonographisch und kunstlerisch bedeutende Miniaturen. Die wenigen
bis heute veroffentlichten Miniaturen wurden wegen des
auaergewohnlich groaen Formates des Buches stets verkleinert
widergegeben. Nun erstmals in Originalgroae reproduziert, kommen
Formenreichtum und Ausdruckskraft der Bilder voll zur Geltung.
Dieser Band enthalt 131 Katalognummern mit mittelalterlichen und
fruhneuzeitlichen Inschriften der Stadt Wiesbaden und ihrer
eingemeindeten Vororte bis zum Jahr 1700. Sowohl die im Original
erhaltenen als auch die verlorenen, jedoch durch Abschriften,
Zeichnungen oder Fotos uberlieferten Inschriften wurden in den
Katalog aufgenommen. Die altesten Grabsteine des 5. bis 6.
Jahrhunderts legen Zeugnis ab von dem Weiterleben christlicher
Glaubenstradition in der germanischen Bevolkerung nach dem Ende der
romischen Herrschaft am Rhein. Gegen Ende des Mittelalters setzt
auch in Wiesbaden die allenthalben zu beobachtende Verdichtung des
Materials ein. Der Kreis der Auftraggeber von Inschriften erweitert
sich und umfasst nun Adlige, Amtleute, Pfarrer und ein Jahrhundert
spater auch Burgerliche, die in der untergegangenen Mauritiuskirche
und den Vororten ihre Denkmaler hinterliessen. Die Einleitung des
Bandes stellt Bezuge zwischen dem Inschriftenbestand und der
Stadtgeschichte her. Im Katalogteil werden die Inschriftentrager
beschrieben, die Texte wiedergegeben, bei Bedarf mit Ubersetzungen
versehen und eingehend besprochen. Register und ein ausfuhrlicher
Tafelteil erganzen die Edition.
Documentation, belongs to facsimile edition.
Opicinus's drawings complicate many of our assumptions about
medieval visual culture, and spark lines of inquiry into the
interplay of religion and science, the practice of experimentation,
the operations of allegory in the fourteenth century, and
ultimately into the status of representation itself. In 1334, an
Italian priest named Opicinus de Canistris fell ill and experienced
a divine vision of continents and oceans transformed into human
figures, a vision which inspired numerous drawings. While they
relate closely to contemporary maps and seacharts, religious
iconography, medical illustration, and cosmological diagrams,
Opicinus's drawings cannot be assimilated to any of these
categories. In their beautiful strangeness they complicate many of
our assumptions about medieval visual culture, and spark lines of
inquiry into the interplay of religion and science, the practice of
experimentation, the operations of allegory in the fourteenth
century, and ultimately into the status of representation itself.
Robert Deshman wove together a dense and tightly structured nexus
of Early Christian, Carolingian, Anglo-Saxon, and Ottonian
manuscript illuminations, ivories, textiles, mosaics, and wall
paintings on the one hand, and contemporary exegetical, liturgical,
and political writings on the other. In so doing, he ultimately
demonstrated the intrinsic connections among visual culture,
theology, philosophy, political theory, and ecclesiastic doctrine
and practice. Although he used the word only once in his own
writings, at the very end of his career, Deshman was truly an
interdisciplinary scholar of the first order. The thirteen articles
collected in this volume were published between 1971 and 1997 (four
posthumously) in six different journals and four edited books.
Reprinting them is meant not only to make the articles more
accessible but also to present a cohesive body of work (primarily
on Anglo-Saxon art) that as a whole has yet to be surpassed or
methodologically replaced in the scholarly literature.
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