Ancients Ruins of Mahabharata Prominence Hastinapur Giving Vindication of Bioarchaeology

Hastinapur, capital of the Kuru Kingdom in the era of Mahabharata. Some ancient structures imply the name of Mahabharata personages such as Karna Ghat Mandir, Draupadi Ghat Mandir, Pandeshwar Mahadev Mandir, Pandv Tila, or Ulta Khera Mound, etc. In the year 1950-52 some portion of Ulta Khera and Mound of Raghunathji was excavated by B.B. Lal. He found 5 culture strata starting from Pre 1200 B.C. to the early 15th Century A.D and the first time he brings in limelight a new ceramic industry Painted Grey Ware. The recovery of somehow Kushan Period bones(?,for exact time period, the Archaeological Survey of India should remove all these evidences from the site and go through carbon dating.) from near site HST 2 connects this mound with Bio-archaeology. Keywords: Hastinapur, Ulta Khera Mound, Mahabharata, Bioarchaeology

Recto and Verso: The Pictorial Fronts and the Marbled Reverses of Two Flemish Panel Paintings

From the first third of the 15th century onwards, panel paintings with marbled reverses increasingly appeared in Flemish art. The fronts of these panels primarily depicted religious narrative scenes or portraits. The backs were decorated with an abstract pattern, referred to as marbling. These painted marble facsimiles often differed in terms of design from other examples of stone imitations such as those used on the frame decorations of other panels. Unlike these frames, which suggest a greater illusionistic intention, the marbled reverses appear to function as abstract ornamentation. However, this article proposes that the painted backs are thematically linked to the pictorial narratives of the fronts. The marbled backs of Rogier van der Weyden’s Crucifixion and the Portrait of Margareta van Eyck will be considered in the context of a profane and a theological iconography. Both panels feature a reverse that can be identified as both an imitation of red porphyry and a representation of liquid paint. Metaphysical, material–semantic, and theological references will be revealed in the pictorial examples.

Teocentrismo, Antropocentrismo y Contabilidad: de la Edad Media al Renacimiento

The change in the accounting method from single entry to double entry in the 15th century has been tried to explain by the influence of some different issues such as the appearance of capitalism or by the contact of Italy with other peoples. However, none of them has been able to do so satisfactorily. That is why this work, tries to show how this accounting change could be pushed by a paradigm shift: the philosophical and religious perception of the world and its passed from the Middle Ages to the Renaissance. It will be seen using a qualitative methodology which helps to know how the methods of charge and discharge and double entry respond to the prevailing ways of thinking in which they developed. The first one, can be associated with a Theocentric thought, typical of the Middle Ages, and the second one, double entry bookkeeping, philosophical viewpoint that are the are the most important entity in the world, which is characteristic of the Renaissance. El cambio del método contable de la partida simple a la doble en el siglo XV se ha intentado explicar por la influencia de diferentes factores como la aparición del capitalismo o por el contacto de Italia con otros pueblos. Sin embargo, ninguno de ellos aisladamente, lo ha podido hacer de forma satisfactoria. Por lo tanto, utilizando una metodología cualitativa, este trabajo intenta arrojar luz indagando cómo este cambio contable se pudo deber a un cambio en la percepción filosófica y religiosa del mundo, al pasarse de la Edad Media al Renacimiento. Se verá cómo los métodos del cargo y descargo y de la partida doble responden a las formas de pensamiento imperantes en el que se desarrollaron. En consecuencia, que partida simple se puede asociar a un pensamiento Teocéntrico, propio de la Edad Media, y que la partida doble se puede relacionar con el Antropocéntrico característico del Renacimiento.

La embajada de Rui: la visión del viaje medieval hacia Tamorlán en la novela gráfica contemporánea

RESUMEN: Este estudio se centra en el análisis de la novela gráfica de Nieves Rosendo Embajada de Rui, texto inspirado en el viaje de los embajadores castellanos a la corte del gran caudillo mongol, un suceso histórico importante de principios del XV cuyo testimonio quedó plasmado en el relato de viajes medieval Embajada a Tamorlán. El objetivo de este trabajo es examinar en qué medida y por qué esta obra contemporánea se aleja de la fuente medieval, así como analizar cuáles son los rasgos que comparte con el testimonio original y qué visión del viaje medieval pretende mostrar a sus lectores. El análisis llevado a cabo nos permitirá ver cómo el Medievo sigue siendo una época idealizada por la mirada nostálgica de los contemporáneos, quienes lo ven como un periodo lejano y fascinante que hacía posibles verdaderos viajes y descubrimientos. ABSTRACT: This study is focused on the analysis of the graphic novel Embajada de Rui by Nieves Rosendo, a text inspired by the travel of the Castilian ambassadors to the court of the great Mongolian leader, an important historical event in the early 15th century whose testimony was reflected in the medieval travelogue Embajada a Tamorlán. The goal of this work is to examine why this contemporary novel differs from the medieval source, as well as to analyze what are the features that it shares with the original testimony and what is the vision of medieval travel that intends to convey to the readers. The analysis carried out allows us to see how the Middle Ages continues to be an idealized period to the nostalgic gaze of contemporaries who see in it a distant and fascinating era that enabled true travels and discoveries.

Petrus Thomae — an Early Follower of Duns Scotus, Minorite from Barcelona and Author of Metaphysical Treatises

The article serves as a historical-philosophical introduction to the Russian translation of the Latin text of the 11th question of the metaphysical treatise of Peter Thomae, OFM “De modis distinctionum” (written around 1325). We present therein the biography of this Franciscan theologian and philosopher from Barcelona, list and briefly characterize all his works that have come down to us (together with their respective editions). The article also shows why the metaphysical legacy of this early follower of John Duns Scotus is of particular importance. Then we outline and characterize the general structure of the whole treatise and of the quaestio to which the text we publish belongs. In conclusion, we describe the type of the Latin original that served as the basis for our translation, namely the collated text of three manuscripts from the 14th century and of one from the 15th century.

The Study on the Style and Value of Stone Buddha Statue of Hoeamsa Temple in Yangju

This study focus on the characteristics and of the Fragment of Stone Buddha of Hoeamsa Temple(檜巖寺). As is well known, this temple had been developed rebuilding by supporting of the royal family from the late of Korea Dynasty to the early of Joseon Dynasty(朝鮮). The Hoeamsa Temple Site in Yangju(陽州) is believed to have been destroyed in a fire in the late 16th century, and various artifacts have been excavated after several excavations since 1999. This Temple has been excavated a variety of Fragment of Stone Buddha statues. The Buddha statue of Hoeamsa Temple in Yangju has a hole on top of high usnisa(肉髻), and special folds in the left arm and a thick clothing style. It was reflects the sculptural Joseon style modified by the Tibet-Chinese style. This style is very similar to that of Buddha statues produced in the 15th century, supported by the royal family of Joseon. In particular, these statues were believed to have been produced around the first half of the 15th century when the temple was heavily fortified with the support of Prince Hyo-ryeong(孝寧大君). It is also interesting to note that these statues show the sculptural features of the early Joseon Dynasty, reflecting the Tibetan-Chinese sculptures style, compared to those of the Buddhist sculptures in the first half of the 15th century during the year of Yeongrak (1403~1424) and Seondeok (1426~1435), the kings of the Ming Dynasty. This reflects the development of Buddhist sculptures in the early Joseon Dynasty in line with the trend of Buddhist art in East Asia.

Посланица Цариградске Патријаршије Чесима из 1451. године

The study and translation of the Epistle of the Patriarchate of Constantinople to the Czechs from 1451 aims to present the relations between the Hussites and the Orthodox Church, more precisely the Patriarchate of Constantinople in the middle of the 15th century. The translation of the Epistle provides answers to some questions that arose from the perception of historical events of the 15th century in the Church History in Western Church.

The Introduction of North China’s Ceramic Culture to 15th Century Joseon and the Influence on Buncheong Ware

This paper is a study on Korean Buncheong ware in relation to the ceramic culture of North China. The focus on drawing connections between the ceramic industries of Korea and North China expands on views presented in previous scholarship. Research thus far has traditionally ascribed the origin of Buncheong forms and decoration techniques to the influences of inlaid celadon from the late Goryeo Dynasty and the Cizhou ware of the Yuan and Ming Dynasties. The ceramic culture of North China was quickly transmitted to Korea due to the naturalization of the Jurchen people, who took part in founding the early Joseon Dynasty. Another factor was the migration and settlement of immigrants from North China, which began from the late Goryeo Dynasty and continued into the Joseon Dynasty or the fifteenth century. Therefore, the influence of North China is evident in various aspects of Buncheong ware from the early fifteenth century as observed in the forms of inlaid examples produced during this period. In the latter half of the fifteenth century, increased cultural exchange between the two regions and the growing number of migrants from North China were two important factors in the development of Buncheong in Korea. This is particularly true for examples featuring underglaze iron-brown (cheolhwa), sgraffito (bakji), slip-brushed (gwiyal), and slip-coated (deombeong) decorations fired in kilns populating the region of Chungcheong-do and parts of Jeolla-do. Traces of ‘Bunjang (粉粧)’ ceramics, which served as the transition from celadon to White Porcelain, is detected not only in the fifteenth century Buncheong ware of Joseon, but also in the porcelain of North China produced in the late Yuan and early Ming Dynasties. Though South China also experienced a quick transition from celadon to White Porcelain, the inclusion of ‘Bunjang’ ceramics is unique to North China. In conclusion, early Joseon Buncheong originated and developed from the inlaid celadon of late Goryeo–a progression that occurred under the ceramic culture of North China, whose influences prompted innovations in form and technique vital to the development of Buncheong ware.