scholarly journals After 410

1970 ◽  
Vol 18 ◽  
pp. 71-79
Author(s):  
Brilliant Richares
Keyword(s):  
Late Antique ◽  
History Of Art ◽  
History Of ◽  
Artistic Tradition

This essay attempts to disqualify the date of 410, when Alaric sacked Rome, as a significant event in the history of art. It forms part of a much longer investigation of periodicity and its boundaries, especially with the respect to the nature of Late Antique art, ambivalently at the end of an artistic tradition and at the beginning of another.

scholarly journals Eastern or Western - that is the Question. Some Notes on the New Evidence concerning the Eastern Origin of the Halberstadt Diptych

1970 ◽  
Vol 15 ◽  
pp. 193-203 ◽  
Author(s):  
Gudrun Bühl
Keyword(s):  
Late Antique ◽  
Main Argument ◽  
History Of Art ◽  
History Of ◽  
New Evidence

The Halberstadt diptych is a prominent example of late-antique official court art and of various kinds of expression of legitimation and power. In an article written in 1998, Alan Cameron attributed the diptych to Consul F1. Constans of 414, contradicting those who judged ita s having been commissioned by the western consul Fl. Constantius, who became consul only three years later. What may seem like a negligible difference in years is of significant consequence in that Cameron’s suggestion not only assigns the diptych a new date but, more importantly, postulates an eastern origin for it and raises wider questions in the history of art. In the following paper Cameron’s main argument will be refuted, while other arguments will be rehabilitated in favour of a western origin of the Halberstadt diptych. 

Concealment, Revelation, And Gender: The Veil Of Moses in The Bible And in Christian Art

2003 ◽  
Vol 7 (3) ◽  
pp. 227-273
Author(s):  
Brian Britt
Keyword(s):  
Divine Revelation ◽  
The Bible ◽  
Christian Art ◽  
History Of Art ◽  
History Of ◽  
Presence And Absence ◽  
The Veil ◽  
And Gender ◽  
Artistic Tradition

AbstractMoses's wearing of a veil (Exod 34:25-39) remains a puzzling and relatively obscure biblical episode. This article interprets Moses's veil as a sign of divine communication and prophecy. Through analysis of the passage, commentary, and images from the history of art, I trace the legacy of the veil as a symbol of the problem of divine revelation itself. For written commentary and artistic tradition, I argue that the veil is concealed, repressed, and transformed in order to ease an anxiety about the veil that is also an anxiety about the text. Christian interpreters (following 2 Cor 3:7-18) associate the veil with Jewish blindness to the gospel. In artistic tradition, the veil of Moses is often linked to the allegorical female Synagogue, who wears a blindfold. The veil, which originally enables Moses to act as a prophet, is thus concealed by religious polemic and linked to the Christian feminization of Jewishness. At the same time, the ambiguity and uncanniness of the veil images evoke the mysterious quality of Exodus 34:29-35. The veil of Moses may thus be seen as a meta-text that alternates between presence and absence, concealment and revelation.

The History of Art

1876 ◽  
Vol 2 (46supp) ◽  
pp. 733-734
Keyword(s):  
History Of Art ◽  
History Of

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Classical Conceptions of Visuality and Representation in John of Damascus' Defense of Holy Images1

2020 ◽  
Vol 4 (3) ◽  
pp. 284-308
Author(s):  
James A. Francis
Keyword(s):  
Violent Conflict ◽  
Christian Theology ◽  
Late Antique ◽  
Second Sophistic ◽  
Word And Image ◽  
John Of Damascus ◽  
History Of ◽  
Classical Culture ◽  
Common Era ◽  
Iconoclastic Controversy

The Defense of Holy Images by John of Damascus stands as the archetypal exposition of the Christian theology of images. Written at the outbreak of the Iconoclastic Controversy, it has been mostly valued for its theological content and given scholarly short shrift as a narrowly focused polemic. The work is more than that. It presents a complex and profound explication of the nature of images and the phenomenon of representation, and is an important part of the “history of looking”in western culture. A long chain of visual conceptions connects classical Greek and Roman writers, such as Homer and Quintilian, to John: the living image, the interrelation of word and image, and image and memory, themes elaborated particularly in the Second Sophistic period of the early Common Era. For John to deploy this heritage so skillfully to the thorny problem of the place of images in Christianity, at the outbreak of a violent conflict that lasted a further 100 years after his writing, manifests an intellect and creativity that has not been sufficiently appreciated. The Defense of Holy Images, understood in this context, is another innovative synthesis of Christianity and classical culture produced by late antique Christian writers.

The Making of the Medieval Middle East

2018 ◽  
Author(s):  
Jack Tannous
Keyword(s):  
Middle East ◽  
Middle Ages ◽  
Religious History ◽  
Late Antique ◽  
Christian Communities ◽  
Conversion To Islam ◽  
History Of ◽  
First Millennium ◽  
Muslim Communities ◽  
The Middle Ages

In the second half of the first millennium CE, the Christian Middle East fractured irreparably into competing churches and Arabs conquered the region, setting in motion a process that would lead to its eventual conversion to Islam. This book argues that key to understanding these dramatic religious transformations are ordinary religious believers, often called “the simple” in late antique and medieval sources. Largely agrarian and illiterate, these Christians outnumbered Muslims well into the era of the Crusades, and yet they have typically been invisible in our understanding of the Middle East's history. What did it mean for Christian communities to break apart over theological disagreements that most people could not understand? How does our view of the rise of Islam change if we take seriously the fact that Muslims remained a demographic minority for much of the Middle Ages? In addressing these and other questions, the book provides a sweeping reinterpretation of the religious history of the medieval Middle East. The book draws on a wealth of Greek, Syriac, and Arabic sources to recast these conquered lands as largely Christian ones whose growing Muslim populations are properly understood as converting away from and in competition with the non-Muslim communities around them.

Technology «culture of dialogue» in education specialists in history of art

2017 ◽  
Vol 4 ◽  
pp. 179-183
Author(s):  
Anna Yur’evna Demshina ◽  
Keyword(s):  
History Of Art ◽  
History Of

ABOUT THE PERIODIZATION AND CHRONOLOGY OF THE HISTORY OF TAURIC CHERSONESUS IN THE PRE-ROMAN AND THE LATE ANTIQUE PERIODS

2020 ◽  
Vol 6 (72) (3) ◽  
pp. 127-148
Author(s):  
S. V. Ushakov
Keyword(s):  
Scientific Literature ◽  
Early Stage ◽  
Late Antique ◽  
Ancient History ◽  
History Of ◽  
Transitional Time ◽  
Early Byzantine

Hundreds of scientific works are devoted to the study of the Tauric Chersonesus, but the problem of chronology and periodization of its ancient history is not sufficiently developed in historiography. Analysis of scientific literature and a number of sources concerning this subject allows to define the chronological framework and to reveal 10 stages of the history of ancient Chersonesos (as a preliminary definition). The early stage, the Foundation and formation of the Polis, is defined from the middle/last third of the VI century (or the first half of the V century BC) to the end of the V century BC. The end of the late-Antique − early-Byzantine (transitional) time in Chersonesos can be attributed to the second half of the VI – first third of the VII centuries ad).

Marxism and the History of Art

2015 ◽  
Keyword(s):  
History Of Art ◽  
History Of

Urban Space and Aristocratic Power in Late Antique Rome

2019 ◽  
Author(s):  
Carlos Machado
Keyword(s):  
Roman Empire ◽  
Cultural History ◽  
Urban Space ◽  
Social Life ◽  
Late Antiquity ◽  
Late Antique ◽  
The Social ◽  
Traditional Elite ◽  
History Of ◽  
The City

This book analyses the physical, social, and cultural history of Rome in late antiquity. Between AD 270 and 535, the former capital of the Roman empire experienced a series of dramatic transformations in its size, appearance, political standing, and identity, as emperors moved to other cities and the Christian church slowly became its dominating institution. Urban Space and Aristocratic Power in Late Antique Rome provides a new picture of these developments, focusing on the extraordinary role played by members of the traditional elite, the senatorial aristocracy, in the redefinition of the city, its institutions, and spaces. During this period, Roman senators and their families became increasingly involved in the management of the city and its population, in building works, and in the performance of secular and religious ceremonies and rituals. As this study shows, for approximately three hundred years the houses of the Roman elite competed with imperial palaces and churches in shaping the political map and the social life of the city. Making use of modern theories of urban space, the book considers a vast array of archaeological, literary, and epigraphic documents to show how the former centre of the Mediterranean world was progressively redefined and controlled by its own elite.

Sign in / Sign up

Export Citation Format

Share Document