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Masjed-e Jāmé of Isfahan
مسجد جامع اصفهان – Masjid-e-Jāmeh Isfahān
Jameh Mosque of Isfahan
A selection of texts that examine the medieval period from a variety of aesthetic perspectives
The Agency of Things in Medieval and Early Modern Art by This volume explores the late medieval and early modern periods from the perspective of objects. While the agency of things has been studied in anthropology and archaeology, it is an innovative approach for art historical investigations. Each contributor takes as a point of departure active things: objects that were collected, exchanged, held in hand, carried on a body, assembled, cared for or pawned. Through a series of case studies set in various geographic locations, this volume examines a rich variety of systems throughout Europe and beyond.
Call Number: N72.S6 A34 2018
Publication Date: 2017
Anjou by In 2000 the annual conference of The British Archaeological Association met at Angers in France. This publication contains sixteen papers from the conference, in English and French, covering a number of different aspects of the history, art and architecture of Anjou and its surrounding area in the medieval period. The subjects discussed include: Anjou in the 12th and 13th centuries; the evolution of medieval stone construction; religious art in Anjou; the Romanesque Abbey Church; the sculpture of Ronceray d'Angers; architectural patronage of the Counts of Anjou; Cistercian architecture; painted murals. Contributors are:
Call Number: N6851.A54 A54
Publication Date: 2003
Armenia by A fascinating exploration of art created by the varied Armenian kingdoms that connected the East and West during the Middle Ages As the first people to officially convert to Christianity, Armenians commissioned and produced astonishing religious objects. This sumptuous volume depicts and contextualizes the compelling works of art that defined the rich and complicated culture of medieval Armenians, including carvings, liturgical furnishings, beautifully illustrated manuscripts, gilded reliquaries, exquisite textiles, printed books, and more. Situated at the center of trade routes that connected the East and West during the Middle Ages, Armenia became a leading international trade partner for Seljuk, Mongol, Ottoman, and Persian overlords, while also serving as a powerful ally to Byzantium and European Crusader states. Written by a team of international scholars, with contributions from Armenian religious leaders, this book will stand as the definitive text on the art and culture of medieval Armenia.
Call Number: N7274 .A76 2018
Publication Date: 2018
Art from the Court of Burgundy by Art from the Court of Burgundy commemorates the sixth centenary of the death of Philip the Bold (1342-1404) of the house of Valois, the first Duke of Burgundy and brother of the King of France. The extraordinary artistic flowering of this period, stimulated by interaction among the princely courts of France and the Low Countries, found strikingly individual expression at the court of Burgundy. The pomp and ceremony required by the dukes produced a brilliant patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the full. Remarkable architectural projects were also undertaken. The Carthusian monastery known as the Chartreuse de Champmol was one of the most important artistic worksites of this age, the crucible in which was formed works of surpassing quality: the sculptures of Claus Sluter and the paintings of Jean de Beaumetz, Melchoir Broederlam, and Jean Malouel. Fifty-three scholars have contributed to the volume, which accompanies exhibits at the Mus#65533;e des Beaux-Arts, Dijon, and the Cleveland Museum of Arts.
Call Number: 709.40902 A784
Publication Date: 2005
Art in Spain and Portugal from the Romans to the Early Middle Ages by In this extensively illustrated book, Rose Walker reconsiders Spanish and Portuguese art and architecture from the time of the Romans to the turn of the eleventh century. Challenging earlier overviews, Walker highlights the artistic unities shared by Christians and Muslims that culminated in the later tenth century and went on to inform aspects of Romanesque art. The book draws together an exceptionally diverse range of academic studies, including work previously familiar only to Hispanophone audiences.
Call Number: N7103 .W35 2016
Publication Date: 2016
Believing and Seeing by Developments in medieval science that elevated sight above the other senses found religious expression in the Christian emphasis on miracles, relics, and elaborate structures. In his incisive survey of Gothic art and architecture, Roland Recht argues that this preoccupation with vision as a key to religious knowledge profoundly affected a broad range of late medieval works. In addition to the great cathedrals of France, Recht explores key religious buildings throughout Europe to reveal how their grand designs supported this profusion of images that made visible the signs of scripture. Metalworkers, for example, fashioned intricate monstrances and reliquaries for the presentation of sacred articles, and technical advances in stained glass production allowed for more expressive renderings of holy objects. Sculptors, meanwhile, created increasingly naturalistic works and painters used multihued palettes to enhance their subjects’ lifelike qualities. Reimagining these works as a link between devotional practices in the late Middle Ages and contemporaneous theories that deemed vision the basis of empirical truth, Recht provides students and scholars with a new and powerful lens through which to view Gothic art and architecture.nbsp; nbsp;
Call Number: 709.022 R297cX
Publication Date: 2008
Byzantium, Eastern Christendom and Islam by The central theme of the articles reproduced in these two volumes is the role of the visual arts and architecture in the cultural interaction between medieval societies, Christian and Muslim, in the eastern Mediterranean. Visual forms of production and communication amongst Christian communities themselves, and between Christian and Muslim, are discussed within their specific social and political contexts. Placing the emphasis on areas which passed between Christian and Muslim raises questions of the formation of identities as well as the relationship of the periphery to the centre. Focusing on the areas of Egypt, Syria and Palestine in relation to Byzantium, Islam, and the West provides a framework for consideration of particular issues, especially the identity of particular communities. The core of the work considers the period between the twelfth and fourteenth centuries, when these areas were at the centre of eastern Mediterranean politics, and seeks to interpret little known evidence in the light of political and cultural circumstances with an interdisciplinary approach as its starting point. Vol. I features papers on the legacy of Byzantine art, and the medieval Christian art of Egypt. Vol. II covers the Christian art of Medieval Syria, and the art of the Crusader states.
Call Number: 709.02 H941b
Publication Date: 1998
Early Medieval Architecture by The early middle ages were an exciting period in the history of European architecture, culminating in the development of the Romanesque style. Major architectural innovations were made during this time including the medieval castle, the church spire, and the monastic cloister. By avoiding thetraditional emphasis on chronological development, Roger Stalley provides a radically new approach to the subject, exploring issues and themes rather than sequences and dates. In addition to analysing the language of the Romanesque, the book examines the engineering achievements of the builders, andclearly how the great monuments of the age were designed and constructed. Ranging from Gotland to Apulia, the richness and variety of European architecture is explored in terms of the social and religious aspirations of the time. Symbolic meanings associated with architecture are also thoroughlyinvestigated. Written with style and humour, the lively text includes many quotations from ancient sources, providing a fascinating insight into the way that medieval buildings were created, and in the process enlivening study of this period.
Call Number: 723 S782e
Publication Date: 1999
Early Medieval Art by The first millennium saw a rich and distinctive artistic tradition form in Europe. While books had long been central to the Christian religious tradition, education, and culture, they now became an important artistic medium, sometimes decorated with brilliant colours and precious metals.Lawrence Nees explores issues of artist patronage, craftsmanship, holy men and women, monasteries, secular courts, and the expressive and educational roles of artistic creation. He discusses early Christian art within the late Roman tradition, and the arts of the newly established kingdoms ofnorthern Europe not as opposites, but as different aspects of a larger historical situation. This approach reveals the onset of an exciting new visual relationship between the church and the populace throughout medieval Europe, restoring a previously marginalized subject to a central status in ourartistic and cultural heritage.
Call Number: 709.02 N382e
Publication Date: 2002
The Experience of Beauty in the Middle Ages by This book articulates a new approach to medieval aesthetic values, emphasizing the sensory and emotional basis of all medieval arts, their love of play and fine craftsmanship, of puzzles, and of strong contrasts. Written for a general educated audience as well as students and scholars in thefield, it offers an understanding of medieval literature and art that is rooted in the perceptions and feelings of ordinary life, made up of play and laughter as well as serious work. Medieval stylistic values of variety, sweetness, good taste, and ordinary beauty are grounded in classical andmedieval biological theories of change and flux in the human body, not only in symbolism and theology. The book will appeal to all lovers of medieval arts, literature, architecture, music, and painting, as well as serious students of religion and the language of beauty.
Call Number: 701.17 C319e
Publication Date: 2013
A Feast for the Senses by The late medieval world was marked by a culture of refinement and sophistication. The period's media of choice--paintings, manuscripts, prints, tapestries, embroideries, ivory sculpture, metalwork, and enamels--speak volumes about the pleasures of sensory engagement. Art objects were touched, smelled, tasted, and heard, as well as seen. This sumptuous new book brings together sacred and secular art to reveal the shared intellectual culture that governed the understanding of perception and the role of senses in Europe from the 12th through the 16th century. A focused exploration of the performative and multifaceted nature of medieval art underscores its direct appeal to the senses, revealing the rich experiential world that informed its interpretation. Eight essays explore these themes through representations of religious practices, royal rituals, feasts and celebrations, music, and literature. Beautifully designed and produced, A Feast for the Senses contributes significantly to an emerging field in the history of art and showcases approximately 130 objects, each accompanied by a full description, provenance, and bibliography.
Call Number: N5975 .F43 2016
Publication Date: 2017
Gothic Art by Gothic art finds its roots in the powerful architecture of the cathedrals of northern France. It is a medieval art movement that developed all across Europe for more than 200 years. Leaving Roman roundish forms behind, the architects started using flying buttress and pointed arches to open cathedrals to the daylight. Period of great economic and social changes, the gothic period also saw the development of a new iconography celebrating the Holy Mary, at the opposite to the fearful iconography of dark Roman times. Full of rich changes in all the different arts (architecture, sculpture, painting, etc.), gothic gave way to the Italian renaissance and international gothic.
Call Number: 709.022 C477g
Publication Date: 2008
Gothic Art by When we look at the soaring spaces of Chartres cathedral or the shimmering pages of a gilded and painted manuscript, we are witnesses to a new kind of vision. In this radical reappraisal of Gothic art in Europe, the word "Gothic" describes not only an art style but a changing concept of space, time, and society - a new kind of perception, both visual and spiritual, in which light is of central importance. Camille shows us how the art of the thirteenth and fourteenth centuries was seen in its own time and explores the way vision itself was understood. In this age of glorious painting, magnificent, intricate architecture and sculpture, and jewellike manuscript illumination, art was an expression of religious passion and earthly power, of public and private wealth; of science and learning. The new vision led to an explosion of brilliant images but had its grim side, rarely noticed by art history: the distorted representation of "others" like Jews, heretics, and lepers; a new vision not only of the marvelous, but also of the grotesque.
Call Number: 709.022 C183g
Publication Date: 1996
How to Read Medieval Art by An enlightening, accessible guide to understanding and appreciating European art from the Middle Ages How to Read Medieval Art introduces the art of the European Middle Ages through 50 notable examples from the Metropolitan Museum's collection, which is one of the most comprehensive in the world. This handsomely illustrated volume includes multi-panel altarpieces, stained glass windows, wooden sculpture, as well as manuscript illuminations, and features iconic masterworks such as the Merode Altarpiece, Unicorn Tapestries, and The Belles Heures of Jean de France, duc de Berry. Formal explorations of individual works, chosen to exemplify key ideas crucial to understanding medieval art, are accompanied by relevant information about the context in which they were created, conveying the works' visual nuances but also their broader symbolic meaning. Superb color illustrations further reveal the visual and conceptual richness of medieval art, providing the reader with a deeper understanding of the history and iconography of this pivotal era.
Call Number: N5970 .S745 2016
Publication Date: 2016
Image on the Edge by "A gargoyle lurks at the corner of a Gothic cathedral. A monstrous face peers from the margin of a medieval text. At the far reaches of cultural spaces a chorus of odd and arresting figures assembles, commenting endlessly on the world it surveys. What these characters are doing at the margins is the subject of Michael Camille's new book, an exhilarating account of the medieval imagination testing--and defining--its boundaries." "Where others have isolated the marginal image as a detail, Camille considers such marginalia in direct and complex relation to the whole work. Ranging with graceful authority through the culture of the Middle Ages, from art to architecture, music to illustrated manuscripts, courtly romances to social rituals, he finds in the margins a distorted yet apt reflection of medieval conventions. It is here at the edge--of the monastery, the cathedral, the court, the city--that medieval artists found room for experimentation, for glossing, parodying, modernizing, and questioning cultural authority without ever undermining it. Viewing marginalia in their proper social and cultural context, Camille reveals scandalous and subversive aspects, as well as apparently paradoxical stabilizing functions. He rejects oppositions such as high and low, profane and sacred, and instead projects a vision of medieval culture in which marginal resistance, inversion, and transgression play an integral, even necessary, role." "Chimeras as disruptions of religious order; gargoyles as embodiments of fears and temptations; scatological drawings as manifestations of crisis in the chivalric class; charivari as ritual reinscriptions of social norms: Image on the Edge presents a vivid picture of a medieval world in which contradictions were not only tolerated, but worked with exquisite detail into the very fabric of society. With a richness of expression in keeping with his subject--and with a wealth of sumptuous illustrations--Camille illuminates these details; in doing so, he revises and enhances our understanding of medieval culture's self-representation."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Call Number: 709.02 C183i
Publication Date: 1992-05-15
Islamic Art and Architecture, 650-1250 by The transformation of a vast area - from central Spain to the delta of the Indus and from the Sahara desert and the Indian Ocean to the Mediterranean, the Caucasus, the Central Asian deserts, and the Hindu Kush - into a land controlled by Islam was accomplished within roughly a century. The traditions of this world were many and diverse, and the historical, political, religious, social and art-historical threads of these varied influences are woven together into an illuminating narrative. This volume presents a historical survey of the period which is based on the wealth of available information and the steps which are being made towards a critical discourse on Islamic art. Within the historical structure, the subject is divided by region, covering architecture, architectural decoration, the art of the book and the art of the object - textiles, ceramics, metalwork, woodwork. The broader impact of Islamic art on the non-Muslim world is also considered. The artistic and social development of identifiable areas, of the people who lived in them and the wealth of different ways of creating a beautiful environment are the focus of this book. It will be richly illustrated and will provide
Call Number: N6260 .E79 2001
Publication Date: 2002
Masterpieces of Medieval Art by Coinciding with a major refit of the medieval galleries at the British Museum, this book presents some of the highlights, concentrating on the period 1050-1500. The pieces are photographed superbly in full colour, each with a description on the facing page. The book is arranged into three sections - devotional art, society and international influences - and the succesion of artefacts follows a logical thread, but this will mainly be a book to dip into, and a feast for the eyes.
Call Number: 709.02 R662m
Publication Date: 2008
Medieval European Art and Architecture by This bright book describes the major artistic and architectural works of Europe's Medieval era. The book includes discussions of castles, cathedrals, and other large structures, sculptures, paintings, mosaics, stained glass, tapestries, illuminated manuscripts, and other artistic endeavors from this era. Also included are descriptions of the Romanesque and Gothic styles.
Call Number: N5970 .N37 2012
Publication Date: 2012
The Medieval World by The Medieval World: The Walters Art Museum presents some of the most important aspects of medieval art, through the examination of nearly 150 stunning objects from the Walters Art Museum, one of the richest collections of medieval art in the United States. It features superb examples of sculpture and carvings, metal and enamel work, stained glass, jewellery and illuminated manuscripts, ranging in date from the Romanesque and early Byzantine period to the late Gothic and early Renaissance period. Divided into subjects such as the classical tradition and artistic process in the Middle Ages, the church as a heavenly space, saints, relics and devotion, and earthly possessions, each chapter is generously illustrated with artworks, special feature boxes, and details, which provide a fuller understanding of both the formal qualities and social context of medieval art. A wonderfully written and illustrated introduction to the subject of medieval art and society,The Medieval World also features an extensive checklist, bibliography and index.
Call Number: 709.02074 W235m
Publication Date: 2011
Place and Space in the Medieval World by This book addresses the critical terminologies of place and space (and their role within medieval studies) in a considered and critical manner, presenting a scholarly introduction written by the editors alongside thematic case studies that address a wide range of visual and textual material. The chapters consider the extant visual and textual sources from the medieval period alongside contemporary scholarly discussions to examine place and space in their wider critical context, and are written by specialists in a range of disciplines including art history, archaeology, history, and literature.
Call Number: N5975 .P53 2018
Publication Date: 2018
Religious Art in France by
Call Number: 709.44 M245arX
Publication Date: 1978
Mâle's 1899 doctoral thesis remains in print today.
Risus Mediaevalis by Laughter, often defined as humankind's exclusive characteristics, remains in itself an ambiguity. All the more so when one attempts to understand it in a culture from the past. Can humour be considered as a universal and ahistorical phenomenon? Or do we actually project our own tastes on our forebears? It may well be that one has not always laughed for the same reasons and at the same objects; indeed, some forms like parody and satire seem to thrive upon a variety of now outdated and even half forgotten codes and discourses. In the face of these questions, the Leuven Institute of Medieval Studies has attempted to address some of the multiple aspects of medieval laughter, its possible devices, functions and intentions by inviting a number of colleagues to give or write a paper with their own views on the subject. Surprisingly, although they are discussing a great many texts and genres, quite a few contributors appear to agree that the risus mediaevalis already often proceeds from a contrast, a shifting which in its turn produces an effect of surprise. Medieval humour, however, is not a simple thing and takes many forms: e.g. a comedy of corpses where in last resort, the joke is on death itself, a wit of wordplay on the borderline of form and content, a ludic or perhaps carnivalesque happening, a burlesque confrontation between registers, a weapon aimed at a certain group, an ironic use or even a satire of conventions, a playful doodle referring to what happens not on the manuscript page but to the world outside. Questions are also being asked about who exactly was supposed to be amused by some of these jokes and to what effect. And what could have been the audience's response? Did its mirth create a common bond against the other, a release, a confirmation of norm? Or was it sometimes merely a way of enjoying one of the joys of life?
Call Number: 809.02 R597
Publication Date: 2003
Seeing Medieval Art by A Note About the Cover: "Evangeliary of St. Andreas of Cologne." (AE 679, fol. 126v, Hessisches Landesmuseum Darmstadt. Reprinted by permission). This eleventh-century manuscript demonstrates a trend of the High Middle Ages in which transcendental contemplation was initiated by abstract means. Here, thin washes of celestial colors elevate the animal flesh itself, the vellum on which words and pictures are elsewhere inscribed, to guide the viewer's thoughts from the physical world toward (though not all the way to) the invisible God. How did medieval people see art? How was it made, paid for, and used? Why was it necessary to social activities including teaching, civic processions, and missionary work, as well as to architecture and books? With 12 color plates and 54 plates in all, Seeing Medieval Art looks at art's functions and traces many crucial developments including the development of secular art and historical narrative, and the emergence of individual portraiture. This is the first title in a series called Rethinking the Middle Ages, which is committed to re-examining the Middle Ages, its themes, institutions, people, and events with short studies that will provoke discussion among students and medievalists, and invite them to think about the middle ages in new and unusual ways. The series editor, Paul Edward Dutton, invites suggestions and submissions.
Call Number: N5970 .K47 2004
Publication Date: 2004
Thresholds of Medieval Visual Culture by "This aptly-named book brings all manner of boundary-crossing into one provocative, material space in which we can view the riches of state-of-the-art scholarship on medieval and early modern visual culture." Gail McMurray Gibson, William R. Kenan, Jr. Professor of English and Humanities, Davidson College The essays in this collection explore the thresholds between the visual and verbal, the sensory and performative, the literal and metaphorical, the social and epistemological that shaped the cultural matrix of the Middle Ages. The contributors' interrelated interests in patronage, word-image relationships, reception theory, gender studies, close visual and textual analysis, and performance criticism make for a valuable interdisciplinary mix that highlights the importance of studying medieval material culture in its many manifestations and valences. The book benefits from the ambitious cross-disciplinary explorations and engagements with contemporary theory undertaken in the field of medieval studies in recent decades, especially those by Pamela Sheingorn, to whom the volume is dedicated. Jill Stevenson is Assistant Professor of Theatre Arts, Marymount Manhattan College; Elina Gertsman is Assistant Professor of Medieval Art, Case Western Reserve University. Contributors: Richard K. Emmerson, Kathryn A. Smith, Lucy Freeman Sandler, Marilynn Desmond, Adelaide Bennett, Jonathan J. G. Alexander, Diane Wolfthal, Corine Schleif, Rachel Dressler, Glenn Burger, Robert L. A. Clark, Jenna Soleo-Shanks, Glenn Ehrstine, Colum Hourihane
Call Number: GN406 .T474 2012 (in-library use only)
Publication Date: 2018