scholarly journals Portable Prototypes: Canterbury Badges and the Thomasaltar in Hamburg

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 51
Author(s):  
Jennifer Lee
Keyword(s):  
Visual Art ◽  
Medieval Period ◽  
Northern Germany ◽  
Work Of Art ◽  
Major Work ◽  
Late Medieval ◽  
Works Of Art

Pilgrims’ badges often depicted works of art located at a cult center, and these cheap, small images frequently imitated monumental works. Was this relationship ever reversed? In late medieval Hamburg, a painted altarpiece from a Hanseatic guild narrates the life of Thomas Becket in four scenes, two of which survive. In 1932, Tancred Borenius declared this altarpiece to be the first monumental expression of Becket’s narrative in northern Germany. Since then, little scholarship has investigated the links between this work and the Becket cult elsewhere. With so much visual art from the medieval period lost, it is impossible to trace the transmission of imagery with any certainty. Nevertheless, this discussion considers badges as a means of disseminating imagery for subsequent copying. This altarpiece and the pilgrims’ badges that it closely resembles may provide an example of a major work of art borrowing a composition from an inexpensive pilgrim’s badge and of the monumental imitating the miniature.

The art of deceit: Pseudolus and the nature of reading

1996 ◽  
Vol 46 (1) ◽  
pp. 152-174 ◽  
Author(s):  
A. R. Sharrock
Keyword(s):  
Visual Art ◽  
Art Criticism ◽  
Work Of Art ◽  
Works Of Art ◽  
Multiple Levels ◽  
The Moment ◽  
Art Critics

Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Conditions of Visibility

2019 ◽  
Keyword(s):  
Art History ◽  
Visual Art ◽  
Fundamental Question ◽  
Ancient World ◽  
Work Of Art ◽  
History Of Art ◽  
Shared Objects ◽  
History Of ◽  
Modern Prejudice ◽  
Historical Past

We often assume that works of visual art are meant to be seen. Yet that assumption may be a modern prejudice. The ancient world - from China to Greece, Rome to Mexico - provides many examples of statues, paintings, and other images that were not intended to be visible. Instead of being displayed, they were hidden, buried, or otherwise obscured. In this third volume in the Visual Conversations in Art & Archaeology series, leading scholars working at the intersection of archaeology and the history of art address the fundamental question of art's visibility. What conditions must be met, what has to be in place, for a work of art to be seen at all? The answer is both historical and methodological; it concerns ancient societies and modern disciplines, and encompasses material circumstances, perceptual capacities, technologies of visualization, protocols of classification, and a great deal more. The emerging field of archaeological art history is uniquely suited to address such questions. Intrinsically comparative, this approach cuts across traditional ethnic, religious, and chronological categories to confront the academic present with the historical past. The goal is to produce a new art history that is at once cosmopolitan in method and global in scope, and in doing so establish new ways of seeing - new conditions of visibility - for shared objects of study.

scholarly journals The origins and evolution of Cypriot glazed ware productions during the thirteenth to seventeenth centuries CE

2021 ◽  
Vol 13 (2) ◽  
Author(s):  
Carmen Ting ◽  
Thilo Rehren ◽  
Athanasios Vionis ◽  
Vasiliki Kassianidou
Keyword(s):  
Eastern Mediterranean ◽  
Medieval Period ◽  
Late Medieval ◽  
New Approach ◽  
Commercial Activities ◽  
Late Medieval Period ◽  
Thin Section Petrography ◽  
Set Up ◽  
Economic Developments ◽  
Full Consideration

AbstractThis paper challenges the conventional characterisation of glazed ware productions in the eastern Mediterranean, especially the ones which did not feature the use of opaque or tin-glazed technology, as technologically stagnant and unsusceptible to broader socio-economic developments from the late medieval period onwards. Focusing on the Cypriot example, we devise a new approach that combines scientific analyses (thin-section petrography and SEM-EDS) and a full consideration of the chaîne opératoire in context to highlight the changes in technology and craft organisation of glazed ware productions concentrating in the Paphos, Famagusta and Lapithos region during the thirteenth to seventeenth centuries CE. Our results indicate that the Paphos production was short-lived, lasting from the establishment of Frankish rule in Cyprus in the thirteenth century to the aftermath of the fall of the Crusader campaigns in the fourteenth century. However, glazed ware production continued in Famagusta and Lapithos from the late thirteenth/fourteenth centuries through to the seventeenth century, using technical practices that were evidently different from the Paphos production. It is possible that these productions were set up to serve the new, local demands deriving from an intensification of commercial activities on the island. Further changes occurred to the technical practices of the Famagusta and Lapithos productions around the 16th/17th centuries, coinciding with the displacement of populations and socio-political organisation brought by the Ottoman rule.

ՆՈՐԱՀԱՅՏ ՈԻՇՄԻՋՆԱԴԱՐՅԱՆ ԵԿԵՂԵՑԻ ԹԵՂՈՒՏՈՒՄ (2010 թ. պեղումների արդյունքները)

2021 ◽  
pp. 343-357
Author(s):  
Astghik Babajanyan
Keyword(s):  
Medieval Period ◽  
Metal Artifacts ◽  
Late Medieval ◽  
Late Medieval Period ◽  
Evil Eye ◽  
Grave Markers

THE NEWFOUND CHAPEL OF THE LATE MEDIEVAL PERIOD IN TEGHUT (The Results of the Excavations in 2010) In 2010 in the results of the excavations carried out at the site of "Lands of Gharakotuk" in Teghut a cemetery chapel with almost a square floorplan (8.7x7.7 m2) was uncovered. The chapel has a rectangular apse highlighted from both inside and outside which is not common in Armenian architecture. The architectural plan of the chapel was distorted in the result of multiple and often incorrect reconstructions. The excavations revealed a variety of tombstones of the 14th17th centuries, including two grave markers with Georgian inscriptions (deciphering and commentaries by Temo Jojua), two complete and two dozen fragmentary khachkars (two of them dated 1513 and 1604), ceramic and metal artifacts. Based on the analysis of the found materials and the architectural structure, the chapel dates to the 16th-17th centuries. According to the environment ‒ sacred trees (Celtis caucasica) growing around the chapel and the cemetery, as well as a collection of specially hidden metal objects (human figurines, animal shoes, lock etc.) which had protective significance from the evil eye or various diseases, the chapel served also as a place for pilgrimage.

scholarly journals Jesuit Sanctity: Hypothesizing the Continuity of a Hagiographic Narrative of the Modern Age

2022 ◽  
Vol 9 (1) ◽  
pp. 1-14
Author(s):  
Franco Motta ◽  
Eleonora Rai
Keyword(s):  
Early Modern ◽  
Society Of Jesus ◽  
Special Issue ◽  
Medieval Period ◽  
Late Medieval ◽  
Late Medieval Period ◽  
Modern Age ◽  
Political Implications ◽  
History Of

Abstract The introduction to this special issue provides some considerations on early modern sanctity as a historical object. It firstly presents the major shifts in the developing idea of sanctity between the late medieval period and the nineteenth century, passing through the early modern construction of sanctity and its cultural, social, and political implications. Secondly, it provides an overview of the main sources that allow historians to retrace early modern sanctity, especially canonization records and hagiographies. Thirdly, it offers an overview of the ingenious role of the Society of Jesus in the construction of early modern sanctity, by highlighting its ability to employ, create, and play with hagiographical models. The main Jesuit models of sanctity are then presented (i.e., the theologian, the missionary, the martyr, the living saint), and an important reflection is reserved for the specific martyrial character of Jesuit sanctity. The introduction assesses the continuity of the Jesuit hagiographical discourse throughout the long history of the order, from the origins to the suppression and restoration.

scholarly journals Jelentés a Kaposvárt elkerülő 61-es számú főút 2. lelőhelyén végzett feltárásról

2014 ◽  
pp. 175-184
Author(s):  
Edith Bárdos ◽  
Máté Varga
Keyword(s):  
Medieval Period ◽  
The South ◽  
Late Neolithic ◽  
Late Medieval ◽  
The North ◽  
Late Medieval Period ◽  
Site Number ◽  
Extended Area

The preliminary explorations of the bypass of road 61 to the North of Kaposvár took more years. Among the ex-cavations in the pathes of the new highway, one of the great-est and most important is the excavation of site number 2 to the South of Toponár. The excavation is located on the East-ern bank of Stream Deseda. The territory was almost always suitable for settlement. It is proved by the fact that we found artifacts from 9 period-cultures from the late Neolithic to the late Medieval period. On the site of the excavations there is an outstanding amount of scattered cremation burials and urn graves from the period of the Transdanubian Encrusted Pot-tery Culture, as well as the cemetery established in the 11th century, in the Arpadian-age. The extended area of the exca-vations was settled intensively in the late Avar-age and in the early Arpadian-age.

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