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Natural Materials of the Holy Land and the Visual Translation of
Place, 500-1500, focuses on the unique ways that natural materials
carry the spirit of place. Since early Christianity, wood, earth,
water and stone were taken from loca sancta to signify them
elsewhere. Academic discourse has indiscriminately grouped material
tokens from holy places and their containers with architectural and
topographical emulations, two-dimensional images and bodily relics.
However, unlike textual or visual representations, natural
materials do not describe or interpret the Holy Land; they are part
of it. Tangible and timeless, they realize the meaning of their
place of origin in new locations. What makes earth, stones or
bottled water transported from holy sites sacred? How do they
become pars pro toto, signifying the whole from which they were
taken? This book will examine natural media used for translating
loca sancta, the processes of their sanctification and how,
although inherently abstract, they become charged with meaning. It
will address their metamorphosis, natural or induced; how they
change the environment to which they are transported; their
capacity to translate a static and distant site elsewhere; the
effect of their relocation on users/viewers; and how their
containers and staging are used to communicate their substance.
Gender, Piety, and Production in Fourteenth-Century English
Apocalypse Manuscripts is the first in-depth study of three
textually and iconographically diverse Apocalypses illustrated in
England in the first half of the fourteenth century by a single
group of artists. It offers a close look at a group of illuminators
previously on the fringe of art historical scholarship, challenging
the commonly-held perception of them as mere craftsmen at a time
when both audiences and methods of production were becoming
increasingly varied. Analyzing the manuscripts' codicological
features, visual and textual programmes, and social contexts, it
explores the mechanisms of a fourteenth-century commercial workshop
and traces the customization of these books of the same genre to
the needs and expectations of varied readers, revealing the crucial
influence of their female audience. The book will be of interest to
scholars and students of English medieval art, medieval
manuscripts, and the medieval Apocalypse, as well as medievalists
interested in late medieval spirituality and theology, medieval
religious and intellectual culture, book patronage and ownership,
and female patronage and ownership.
Natural Materials of the Holy Land and the Visual Translation of
Place, 500-1500, focuses on the unique ways that natural materials
carry the spirit of place. Since early Christianity, wood, earth,
water and stone were taken from loca sancta to signify them
elsewhere. Academic discourse has indiscriminately grouped material
tokens from holy places and their containers with architectural and
topographical emulations, two-dimensional images and bodily relics.
However, unlike textual or visual representations, natural
materials do not describe or interpret the Holy Land; they are part
of it. Tangible and timeless, they realize the meaning of their
place of origin in new locations. What makes earth, stones or
bottled water transported from holy sites sacred? How do they
become pars pro toto, signifying the whole from which they were
taken? This book will examine natural media used for translating
loca sancta, the processes of their sanctification and how,
although inherently abstract, they become charged with meaning. It
will address their metamorphosis, natural or induced; how they
change the environment to which they are transported; their
capacity to translate a static and distant site elsewhere; the
effect of their relocation on users/viewers; and how their
containers and staging are used to communicate their substance.
Gender, Piety, and Production in Fourteenth-Century English
Apocalypse Manuscripts is the first in-depth study of three
textually and iconographically diverse Apocalypses illustrated in
England in the first half of the fourteenth century by a single
group of artists. It offers a close look at a group of illuminators
previously on the fringe of art historical scholarship, challenging
the commonly-held perception of them as mere craftsmen at a time
when both audiences and methods of production were becoming
increasingly varied. Analyzing the manuscripts' codicological
features, visual and textual programmes, and social contexts, it
explores the mechanisms of a fourteenth-century commercial workshop
and traces the customization of these books of the same genre to
the needs and expectations of varied readers, revealing the crucial
influence of their female audience. The book will be of interest to
scholars and students of English medieval art, medieval
manuscripts, and the medieval Apocalypse, as well as medievalists
interested in late medieval spirituality and theology, medieval
religious and intellectual culture, book patronage and ownership,
and female patronage and ownership.
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