The Eerdmans Encyclopaedia of Early Christian Art and Architecture, written by Paul Corby Finney

2017 ◽  
Vol 59 (3) ◽  
pp. 336-337
Author(s):  
J.K. Elliott
Keyword(s):  
Early Christian ◽  
Christian Art ◽  
Art And Architecture

Early Christian Art

Art History ◽  
2014 ◽  
Author(s):  
Katherine Marsengill
Keyword(s):  
Roman Empire ◽  
Art History ◽  
Late Antiquity ◽  
Near East ◽  
Late Antique ◽  
Early Christian ◽  
Byzantine Art ◽  
Christian Art ◽  
Byzantine Period ◽  
Art And Architecture

Early Christian art history encompasses a range of material loosely dated from the first known appearances of Christian art in the late 2nd or early 3rd century and continuing through the 6th, 7th, and sometimes even into the early 8th centuries. Early Christian art history, however, has proven to be an inchoate term, often overlapping with, or including, Early Byzantine art history. In previous divisions of the field, Early Byzantine art tended to be too politically confining when one considers cities such as Ravenna before and after its inclusion in the Eastern Byzantine Empire. On the other hand, Early Christian art implied only the earliest centuries, usually through the 4th or mid-5th centuries, and usually centered on Roman art. Thus, many scholars today favor the term Late Antique in order to integrate the study of art and architecture of the Eastern Roman Empire and Western Roman Empire as well as to understand Christian art in dialogue with Jewish and pagan art. In terms of dating, scholars generally acknowledge the genesis of Christian art and architecture around 200 ce, although some pursue theories that Christians participated in visual culture in the early 2nd century, if they had not yet developed a distinctly Christian visual language. In terms of geography, the eastern and western Mediterranean, Palestine and the Near East, and sometimes even northern Europe and Britain are all included. One result of this large geographical span has been the separation of Early Christian art in Rome, the Eastern Mediterranean, Egypt, the Near East, and so on. In the last decade or so, however, scholars have generally recognized a more cohesive Mediterranean world and a more fluid transition from Late Antiquity to medieval art and culture. Questions of continuity between these periods have ultimately made dating the end of “Early Christian” or “Late Antique” difficult, if not impossible. Most scholars see the end of Late Antiquity as coinciding with the death of Justinian I or, for the convenience of a rounded date, the year 600. Others argue the end of the period occurred at the beginning of the 7th century with the spread of Islam in the Near East and across North Africa. Byzantinists sometimes recognize the beginning of the iconoclastic controversy in 730 as the end of Late Antiquity. Accordingly, “true” Byzantine-era art begins after iconoclasm in the 9th century, what some refer to as the Middle Byzantine period, which marks the beginning of a distinguishable Byzantine state and extends until the Latin conquest of Constantinople in 1204, then followed by the Late Byzantine period (until 1453). Those who assert the continuity of Late Antique traditions in early Islamic art have recently broached the year 800 as the cut-off point.

Review: Early Christian Art and Architecture by Robert Milburn

1989 ◽  
Vol 48 (2) ◽  
pp. 180-181 ◽  
Author(s):  
Dale Kinney
Keyword(s):  
Early Christian ◽  
Christian Art ◽  
Art And Architecture

Early Christian art and architecture

1989 ◽  
Vol 26 (05) ◽  
pp. 26-2546-26-2546
Keyword(s):  
Early Christian ◽  
Christian Art ◽  
Art And Architecture

Early Christian Art and Architecture

1990 ◽  
Vol 94 (3) ◽  
pp. 517 ◽  
Author(s):  
Caroline J. Hemans ◽  
Robert Milburn
Keyword(s):  
Early Christian ◽  
Christian Art ◽  
Art And Architecture

scholarly journals Singing to Emmanuel: The Wall Paintings of Sant Miquel in Terrassa and the 6th Century Artistic Reception of Byzantium in the Western Mediterranean

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 128
Author(s):  
Carles Sánchez Márquez
Keyword(s):  
19Th Century ◽  
Eastern Mediterranean ◽  
Western Mediterranean ◽  
Wall Paintings ◽  
Singular Set ◽  
Late 19Th Century ◽  
Early Date ◽  
Early Christian ◽  
Christian Art ◽  
Technical Study

Since the late 19th century the wall paintings of Sant Miquel in Terrassa have drawn attention due to their singularity. From the early studies of Josep Puig i Cadafalch (1867–1956) to the present, both the iconographic program and the chronology of the paintings have fueled controversy among scholars. In particular, chronological estimates range from the time of Early Christian Art to the Carolingian period. However, a recent technical study of the paintings seems to confirm an early date around the 6th century. This new data allows us to reassess the question in other terms and explore a new possible context for the paintings. First, it is very likely that the choice of iconographic topics was related to the debates on the Arian heresy that took place in Visigothic Spain during the 5th and 6th centuries. Secondly, the paintings of Sant Miquel should be reconsidered as a possible reception of a larger 6th-century pictorial tradition linked to the Eastern Mediterranean, which is used in a very particular way. However, thus far we ignore which were the means for this artistic transmission as well as the reasons which led the “doers” of Terrassa to select such a peculiar and unique repertoire of topics, motifs, and inscriptions. My paper addresses all these questions in order to propose a new Mediterranean framework for the making of this singular set of paintings.

«Bilan» de dix années de réactions au livre de Th. Mathews, The Clash of Gods. A reinterpretation of early christian art.

2005 ◽  
Vol 13 ◽  
pp. 377-385
Author(s):  
Anne-Orange Poilpré
Keyword(s):  
Early Christian ◽  
Christian Art
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