Courtliness and its Trujamanes: Manufacturing Chivalric Imagery across the Castilian–Grenadine Frontier

2008 ◽  
Vol 14 (2-3) ◽  
pp. 219-266 ◽  
Author(s):  
Rosa María Rodríguez Porto
Keyword(s):  
Comparative Analysis ◽  
Iberian Peninsula ◽  
Fourteenth Century ◽  
Artistic Creation ◽  
Cultural Formation ◽  
Artistic Production ◽  
Cultural Plurality

AbstractThe comparative analysis of the "Hall of Justice" ceilings and several fourteenth-century Castilian courtly artefacts—above all, the Crónica Troyana de Alfonso XI (escorial, h.i.6)—provides suggestive insights for thinking about the threads of meaning associated with chivalric imagery in medieval Castile and Granada. Moreover, tracing the different modes of "Iberization" of a repertoire of motifs traditionally considered "northern" or "western," in both thematic and formal terms, as they are incorporated into the ethnic and cultural plurality of the Iberian Peninsula will serve as an opportunity for scholarship to re-examine the processes of cultural formation, allowing us to avoid simplistic labels and rigid parameters. Translation as a paradigm for artistic creation can be useful in this task, since it can help us to make sense, not only of the singularity of Hispanic achievements, but also of the tensions perceivable in the Peninsular dynamics of artistic production.

Joseph and His Two Wives: Patterns of Cultural Accommodation in the Judæo-Persian Tale of Yusof and Zoleykhā

2021 ◽  
Vol 13 (2) ◽  
pp. 146-195
Author(s):  
Julia Rubanovich
Keyword(s):  
Case Studies ◽  
Fourteenth Century ◽  
Jewish Communities ◽  
Artistic Production ◽  
Epic Poem ◽  
Cultural Accommodation ◽  
Cultural Sphere ◽  
Book Of Genesis

Abstract The Tale of Yusof and Zoleykhā appears as part of a religious epic poem, the Bereshit-nāma (Book of Genesis), by the fourteenth-century Judæo-Persian poet Shāhin. Composed in 1358–59, in classical Persian with an admixture of Hebraisms and written in Hebrew characters, this tale was enormously popular within Persian-speaking Jewish communities and was frequently copied on its own. The paper focuses on two episodes from this story: Yusof’s marriages to Zoleykhā and to Osnat (Asenath). Shāhin was active in the late Il-khanid and early post-Mongol periods, when new forms of patronage of literary and artistic production emerged seeking to blend different cultural worlds. The poet indeed fashioned unique amalgams of Jewish and Perso-Islamic traditions, both in form and content. The two episodes constitute small case studies for exploring Shāhin’s diverse array of sources and for determining the thematic and structural ramifications of this fusion. The paper pinpoints how Shāhin accommodated and adapted Jewish and Islamic materials and demonstrates that, though Jewish, the poet firmly ensconces himself in a Persianate cultural sphere.

scholarly journals Comparative analysis of socialist and bourgeois art in the social philosophical aspect

2019 ◽  
Vol 72 ◽  
pp. 03049
Author(s):  
Alla Matveeva ◽  
Roman Krasnov ◽  
Ekaterina Yalunina ◽  
Andrey Romanov
Keyword(s):  
Comparative Analysis ◽  
Social Problems ◽  
Theoretical Foundation ◽  
Modern Art ◽  
Scientific Understanding ◽  
Artistic Creation ◽  
The Social ◽  
Marxist Analysis ◽  
Philosophical Aspect ◽  
The Many

At the beginning of the XX century, bourgeois theorists of artistic culture declared dehumanization as one of the main features of the modernism art, one of the main tasks of the contemporary artists’ artwork. Getting to the scientific understanding of the complex and complicated phenomena of modern art culture, it is necessary to reveal not only the socio-economic reasons for their appearance; the philosophical prerequisites for the development of modern bourgeois art, the ideological orientation of its movements should be identified. In the article, the authors argue that modern bourgeois aesthetics objectively performs the opposite tasks: a) bourgeois art distracts artists and spectators from pressing issues of life, b) imposes ideals and tastes that are advantageous to the bourgeoisie, c) sow pessimism and disbelief in human forces. According to authors, as opposing the personality of society, bourgeois art contributes to the isolation of human from social problems, from issues and tasks of the struggle for a better future. The authors believe that the disclosure of the reactionary ideological essence for the many directions of modern bourgeois art enables a consistent Marxist aesthetic analysis of the content and form of artwork and the principles of bourgeois artists’ creativity. Naturally, the philosophical idealist teachings and aesthetic systems that make up the theoretical foundation of modern bourgeois art, embodied in its various directions not directly but indirectly. Only a Marxist analysis of artistic phenomena and techniques of artistic creation in their correlation with the creative method makes it possible to reveal the true interconnections of these phenomena and the essence of artistic techniques, makes it possible to detect and criticize scientifically based falsification ideas of bourgeois theoreticians of art.

scholarly journals The Medieval Synagogue of Molina de Aragón: Architecture and Decoration

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 9
Author(s):  
Daniel Muñoz-Garrido
Keyword(s):  
Comparative Analysis ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Archaeological Site ◽  
Excavation Work ◽  
Work Done ◽  
The Town

The remains of a medieval synagogue, in addition to numerous fragments of plaster decoration, have been found as a result of the excavation work done at the Prao de los Judíos archaeological site in the town of Molina de Aragón (Guadalajara, Spain). These remains suggest that the synagogue was built in the second half of the thirteenth century and that it was refashioned later in the fourteenth century following the same artistic model of the synagogues of Córdoba and El Tránsito. Based on comparative analysis, this article studies the Synagogue of Molina de Aragón in relation to other medieval Iberian synagogues.

scholarly journals Three Italian Illuminated Cuttings in the Royal Library of Copenhagen: the Master B. F., Attavante and the Master of Montepulciano Gradual I

2017 ◽  
Vol 56 ◽  
pp. 9
Author(s):  
Eleonora Mattia
Keyword(s):  
Twentieth Century ◽  
Fourteenth Century ◽  
Point Of View ◽  
The Other ◽  
Artistic Production ◽  
History Of Collecting ◽  
Early Twentieth Century ◽  
History Of ◽  
Late Nineteenth ◽  
Catalogue Raisonne

Eleonora Mattia: Three Italian illuminated Cuttings in the Royal Library of Copenhagen Some observations on the history of collecting illuminated cuttings serve to introduce three unpublished Italian fragments that are part of a collection of illuminated fragments conserved in the Royal Danish Library. The miniatures are described from the point of view of their liturgical and art-historical content and are presented in the form of entries in a catalogue raisonné. The Master B. F., who grew up under the shadow of Leonardo de Vinci, was among those miniaturists most sought-after by collectors in the late nineteenth and early twentieth century because of his evident stylistic debts to the great painter. The beautiful miniature in Copenhagen can now be added to the other known works of this Master and is critical not only to the reconstruction of his corpus, but also for the history of collecting, as it comes from the prestigious Holford Collection. It was already correctly attributed when it entered the collection of the Royal Library; it is here inserted into the activity of the artist, a dating is proposed, and a provenance is suggested from the series of choir books in the monastery of Santi Angelo e Nicolò a Villanova Sillaro in Lombardy, which were broken up around 1799. The Danish cutting here attributed to Attavante has a specific iconography that demonstrates an originality and an independence from models followed by contemporary Florentine painting, qualities not always acknowledged to the well known miniaturist whose extensive figurative production has sometimes been considered repetitive. A third fragment is here attributed to the Pisan Master of Montepulciano Gradual I. This anonymous miniaturist is at the centre of the most recent and innovative studies of fourteenth-century Tuscan painting: his activity belongs to the diversified texture of artistic production between Florence and its nearby cities, with expressive modalities independent of the tradition of the more strictly Giottesque masters. The miniature attributed to him here is to be added to the catalogue of his works, dispersed as they are in many European and American collections.

Love's Subjects: The Alhambra Ceilings, Sentimental Fiction and Allegory

2008 ◽  
Vol 14 (2-3) ◽  
pp. 390-406
Author(s):  
Oscar Martín
Keyword(s):  
Iberian Peninsula ◽  
Fifteenth Century ◽  
Fourteenth Century ◽  
Cultural Assimilation ◽  
Social Crisis ◽  
Sentimental Fiction ◽  
The Way

AbstractThis article analyzes the way in which allegorical and narrative motifs work in the fourteenth-century Alhambra ceilings and in fifteenth-century Castilian sentimental fiction. It argues that while the Alhambra ceilings, based on courtly allegory, convey a dignified statement concerning the potential of allegory to structure a political lesson while at the same time registering cultural assimilation and social crisis, allegory in sentimental fiction is problematized from the outset, showing that the genre's evolution renders allegory ineffective to account for love's subjectivity as it was attached to an outmoded courtly subjectivity. In this way, the painted ceilings of the Alhambra can be interpreted as a stage in the use of allegory in courtly context in the Iberian Peninsula within a larger group of works that make use of similar codes.

The role of interpreters in the conquest and acculturation of the Canary Archipelago

Interpreting ◽  
2011 ◽  
Vol 13 (2) ◽  
pp. 155-175 ◽  
Author(s):  
Marcos Sarmiento Pérez
Keyword(s):  
Iberian Peninsula ◽  
Fourteenth Century ◽  
Linguistic Context ◽  
North African ◽  
The North ◽  
Testing Ground ◽  
African Coast

From the mid-fourteenth century to the end of the fifteenth, the kingdoms of the Iberian Peninsula used the Canary Archipelago as a testing ground for their later conquests and colonization in the Americas. Numerous interpreters, among them many women, enabled communication between Europeans, indigenous islanders, and groups on the North African coast. The paper describes the linguistic context of their work and how it related to the successive stages of conquest and acculturation. Attempts are made to identify the interpreters, to explain how they learned their languages, to analyze the situations in which they participated and to assess the philosophical precepts that may initially have guided their training. These factors are used to group the interpreters into various categories.

Ceramic Production and Social Change in the South east of the Iberian Peninsula between the Islamic and Christian Periods: The Case of Granada

2021 ◽  
Author(s):  
Miguel Busto Zapico ◽  
Alberto García Porras
Keyword(s):  
Social Change ◽  
Comparative Analysis ◽  
Early Modern ◽  
Iberian Peninsula ◽  
Coefficient Of Variation ◽  
Ceramic Production ◽  
Archaeological Sites ◽  
Statistical Methodology ◽  
The South ◽  
South Eastern

AbstractThe major social and political shifts undergone by the south eastern Iberian Peninsula, and specifically Granada, Spain, between the fourteenth and seventeenth centuries brought about clear changes in the ceramic repertoire. This work analyzes these changes through the comparative analysis of three archaeological sites: the Castle of Moclín, the Palace of the Abencerrajes, and the Fortress of Lanjarón. These sites present a clear transitional sequence spanning Nasrid repertoires and Early Modern Castilian productions, including instances of both continuity and rupture. The article advances a new statistical methodology to analyze the degree of standardization of these productions, the coefficient of variation.

scholarly journals El Sentido Interno, Tópica Natural de la Invención en A. G. Baumgarten

2014 ◽  
Vol 22 (44) ◽  
pp. 65-91
Author(s):  
Maximiliano Hernández Marcos ◽  
Keyword(s):  
Cognitive Abilities ◽  
Human Mind ◽  
The Other ◽  
Artistic Creation ◽  
Cognitive Resource ◽  
Artistic Production ◽  
Other Hand ◽  
Human Psyche ◽  
The Aesthetic ◽  
Internal Sense

The purpose of this article is to examine Baumgarten’s proposal - Aesthetica §140; analyzing the catalogue of the sensitive faculties of the human mind as well as the Topics of artistic production. Certainly, this would be equivalent to the conversion of the aesthetic subject and the artist natural talent into beauty and art criteria. This does not imply, however, reducing the latter to mere expressive subjectivity of feeling and emotion. Contrary, Baumgarten is still thinking that art and beauty are subject to rules; only those rules are based on the human psyche nature and, the rather peculiar function of her own cognitive abilities. Such conviction encourages his idea of an artistic creation founded up on Natural Topics; which is based on the “Empirie Psychology of the Moderns”. This article considers the presumption that the philosophical elaboration of that idea implies an historical rising of internal sense; both, as an authentic art’s abode and, as a supreme cognitive resource thanks to his conception in terms of “analogon rationis”. On the other hand, this article shows that Baumgarten did not develop the Psychological Topics of invention on his Aesthetica (1750-58); rather he developed the Psychological Topics from his first poetological writing - Meditationes de nonnullis ad poema pertinentibus (1735).

scholarly journals The Tunic of Christ and the Crown Jewels: Relics in the Byzantine Diplomacy of the Fourteenth Century

2021 ◽  
Vol 26 (6) ◽  
pp. 161-170
Author(s):  
Tatiana Kushch ◽  
◽  
Keyword(s):  
Comparative Analysis ◽  
Fourteenth Century ◽  
New Deal ◽  
Financial Support ◽  
Unsolved Problem ◽  
The State ◽  
Active Search ◽  
Credit History ◽  
The Creation ◽  
The New Deal

ntroduction. This article discusses the “reliquary diplomacy” introduced by Emperor Manuel II Palaiologos during the Ottoman siege of Constantinople (1394–1402). The emperor widely used the relics in the creation of the anti-Ottoman alliance. This article addresses a specific case of this diplomatic practice, Manuel II Palaiologos’ request to Venice for a loan for the deposit on the Tunic of Christ and other relics. Methods. From the juxtaposition of sources and the comparative analysis of the fourteenth-century relations between Byzantium and Venice there are good reasons to discover the motives behind the Venetians’ denial of the emperors’ proposal. Analysis. After 1261 Constantinople kept numerous relics, particularly the Seamless Tunic of Christ and the Purple Robe. The sources in possession do not allow an unequivocal conclusion if the artifact offered to the Venetians was the Seamless Tunic or another one. In the author’s interpretation, the reason of Venice’s withdrawal from the deal was the empire’s bad “credit history.” In August 1343, the Senate of Venice gave credit of 30,000 gold ducats to the Empress Anna of Savoy for the deposit of the jewels of the crown. The Venetians permanently reminded Byzantium about the repayment of the debt and the ransom for the jewels, and, moreover, offered to take the island of Tenedos as a compensation. Therefore, the unsolved problem of the old debt made the new deal with the emperor hopeless in the Venetians’ eyes. Results. The case under analysis sheds light on the state of the Empire in the late fourteenth century. Manuel II Palaiologos put into the “diplomatic circulation” the relics which were convertible in the Christian West. The failure of his negotiations with Venice turned him to active search for other allies, whom he sent parts of the Tunic of Christ in order to gain their military and financial support.

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