Review: The True Description of Cairo: A Sixteenth-Century Venetian View, by Nicholas Warner; The Art and Architecture of Islamic Cairo, by Richard Yeomans

2008 ◽  
Vol 67 (1) ◽  
pp. 144-146
Keyword(s):  
Sixteenth Century ◽  
True Description ◽  
Art And Architecture

DAVID J. ROXBURGH, Prefacing the Image: The Writing of Art History in Sixteenth-Century Iran, Studies and Sources in Islamic Art and Architecture, vol. 9 (Leiden: E. J. Brill, 2001). Pp. 289. $59.00 cloth.

2003 ◽  
Vol 35 (4) ◽  
pp. 640-642
Author(s):  
PAUL LOSENSKY
Keyword(s):  
Sixteenth Century ◽  
Art History ◽  
Social Practices ◽  
Primary Objective ◽  
16Th Century ◽  
Intellectual Life ◽  
Islamic Art ◽  
Disciplinary Boundaries ◽  
Art Historians ◽  
Art And Architecture

The title and publication series of Prefacing the Image initially suggest that it treats a topic of interest only to specialists in art history—a dozen or so rhetorically ornate prefaces composed for bound albums of calligraphies, drawings, and paintings (muraqqaע) during the 16th century. However, it quickly becomes apparent that the scope of this study extends far beyond such disciplinary boundaries. “The primary objective of this book is to study the preface through a variety of approaches—historical, cultural, social, and intellectual” (p. 17). By integrating the album preface into a broad network of social practices and literary discourses, Roxburgh's well-researched and probing study should be of interest not only to art historians but also to any reader with an interest in the cultural and intellectual life of the later Persianate world.

Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy

AJS Review ◽  
2013 ◽  
Vol 37 (2) ◽  
pp. 333-370 ◽  
Author(s):  
David Malkiel
Keyword(s):  
Sixteenth Century ◽  
Italian Renaissance ◽  
Present Discussion ◽  
Jewish Art ◽  
Occasional Poetry ◽  
Medieval Germany ◽  
Art And Architecture

The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.

Somaesthetic Experience and the Viewer in Medicean Florence

2020 ◽  
Author(s):  
Allie Terry-Fritsch
Keyword(s):  
Sixteenth Century ◽  
Middle Ages ◽  
Daily Basis ◽  
Affective States ◽  
Renaissance Art ◽  
Critical Function ◽  
Giorgio Vasari ◽  
Works Of Art ◽  
Art And Architecture ◽  
Coming To Know

Viewers in the Middle Ages and Renaissance were encouraged to forge connections between their physical and affective states when they experienced works of art. They believed that their bodies served a critical function in coming to know and make sense of the world around them, and intimately engaged themselves with works of art and architecture on a daily basis. This book examines how viewers in Medicean Florence were self-consciously cultivated to enhance their sensory appreciation of works of art and creatively self-fashion through somaesthetics. Mobilized as a technology for the production of knowledge with and through their bodies, viewers contributed to the essential meaning of Renaissance art and, in the process, bound themselves to others. By investigating the framework and practice of somaesthetic experience of works by Benozzo Gozzoli, Donatello, Benedetto Buglioni, Giorgio Vasari, and others in fifteenth- and sixteenth century Florence, the book approaches the viewer as a powerful tool that was used by patrons to shape identity and power in the Renaissance.

Vasilii Titov and the ‘Moscow’ Baroque

1993 ◽  
Vol 118 (2) ◽  
pp. 203-222 ◽  
Author(s):  
Olga Dolskaya-Ackerly
Keyword(s):  
Seventeenth Century ◽  
Sixteenth Century ◽  
Evolutionary Process ◽  
Musical Style ◽  
Cultural Traditions ◽  
Russian Music ◽  
The Arts ◽  
History Of ◽  
The Rich ◽  
Art And Architecture

The Baroque, which manifested itself in Muscovy during the course of the seventeenth century, has been recognized as one of the most dynamic and influential eras of Russian musical and artistic creativity. When looking at the history of Russian music one has a tendency to equate the new stylistic trends of the second half of the seventeenth century with those of the highly westernized eighteenth, and to dismiss both merely as periods of Western imitation. In reality music manuscripts reveal otherwise, and now that compositions are finally becoming available in transcription we realize that an entire era remains to be recognized and re-evaluated. In art and architecture, that era, known as the ‘Moscow’ or the ‘Naryshkin’ Baroque, is distinguished by a blend of Italian, Dutch, Russian, Ukrainian and Bielorussian features in a style that, although influenced by foreign elements, was none the less distinct from any in existence at the time. The Moscow Baroque embraced many aspects of the arts, from iconography, architecture and the applied arts to literature and music. Endorsed by Tsar Alexei Mikhailovich (1645–76), foreign influence began to penetrate Muscovy, ushering in a cognizance of Western concepts that began to clash with the rich and long-established spiritual and cultural traditions. In fact Muscovy was just emerging from an aesthetic explosion known as the Golden Age of national artistic expression. Familiar are the magnificent onion-dome churches that were created during the sixteenth century and the flourishing musical centres in Novgorod and Moscow, where composers and singers developed an intrinsically Russian musical style. This was also the age of indigenous Russian polyphony (e.g. strochnoe moskovskoe, strochnoe novgorodskoe, znamennoe and demestvennoe mnogogolosie) which preceded the wave of Western infiltration that inadvertently led to an untimely halt of the evolutionary process of national awakening. Prior to that halt, the Moscow Baroque stands as a brief but unique chapter in the development of the Russian choral tradition.

Maxims of Foreign Policy

Itinerario ◽  
2000 ◽  
Vol 24 (2) ◽  
pp. 62-79
Author(s):  
W.J. Boot
Keyword(s):  
Foreign Policy ◽  
Sixteenth Century ◽  
Foreign Relations ◽  
East Asian ◽  
Modern Period ◽  
Cultural Sphere ◽  
Japanese Identity

In the pre-modern period, Japanese identity was articulated in contrast with China. It was, however, articulated in reference to criteria that were commonly accepted in the whole East-Asian cultural sphere; criteria, therefore, that were Chinese in origin.One of the fields in which Japan's conception of a Japanese identity was enacted was that of foreign relations, i.e. of Japan's relations with China, the various kingdoms in Korea, and from the second half of the sixteenth century onwards, with the Portuguese, Spaniards, Dutchmen, and the Kingdom of the Ryūkū.

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