Academic literature on the topic 'Miniatura medievale'
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Journal articles on the topic "Miniatura medievale"
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Darwish, Mahmoud Ahmed. "Two Armenian Bibles with Arabic Influences of miniature painting (Gregor Tatevatsi 1346-1410)." International Journal for Innovation Education and Research 4, no. 8 (August 31, 2016): 72–100. http://dx.doi.org/10.31686/ijier.vol4.iss8.578.
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About a century ago, Armenian illuminated manuscripts attracted the attention of scholars and lovers of art. Since that time intensive studies of medieval Armenian art had been conducted a unique historical panorama of the art of illumination, embracing more than thirteen centuries has been given.The heritage of a number of miniature schools and their outstanding representatives has been studied; the significance of medieval Armenian painting in the history of world art has been revealed. Although, most of them illuminated, many have not yet been published. Among the best examples of medieval Armenian illumination are those of the following two manuscripts, where the researcher published (28 miniatures) from the Gospel of folios paper in Matenadaran of Mashtots, for the first time: 13th, dated (1297) and (1378), the miniatures were executed by Grigor Tatevatsi and his pupil in (1378), and15th, dated in the end of 14th century and beginning of 15th century, the scribe is Grigor Tatevatsi and the anonymous painter of Syuniq. The research deals two Armenian bibles with Arab Influences by Grigor Tatevatsi (1346–1410), it begins with an introduction for Armenia with a focus on Syuniq which produced the two manuscripts, and includes three sections:1st. Study of Armenian miniatures with a focus on Grigor Tatevatsi school, where the proportion of miniature paintings, his pupil or anonymous painter of Syuniq.2nd. Analytical study.3ed. The influences of the Arabic miniature painting.
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Bankov, Mikhail S. "TO THE QUESTION OF SPACE ORGANIZATION OF BOOK ILLUMINATION OF LATE ANTIQUITY AND EARLY MIDDLE AGES (IV – VII CENTURY)." Scientific and analytical journal Burganov House. The space of culture 17, no. 4 (November 10, 2021): 29–48. http://dx.doi.org/10.36340/2071-6818-2021-17-4-29-48.
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The article focuses on peculiarities of spatial organization of book miniature paintings of late antique and early medieval manuscripts (IV – VII centuries). The author analyses the problem of conveying illusion of depth in illustration in context of gradual transmission from roll to codex, which took place in antique book culture between the II and the V centuries. By analyzing survived fragments of illuminated rolls author displays characteristic features of their spatial organization and observes influence which had tradition of roll illustration on the development of codex. Nevertheless, precisely the miniatures of the codices that have come down to our time are in focus of the author’s attention. The stages of development of the text page, the peculiarities of interaction of text and images in codices are compared with the principles of space organization in miniatures. The article makes an attempt, relying on the monuments that have survived to our time, to consider the development of spatial constructions in the period of late Antiquity and early Middle Ages as a continuous process of evolution of the language of book painting. The author assumes that the development of spatial constructions in miniature painting does not imply sharp breaks or regression. Each new stage of the evolution arises from the previous one and makes it possible to expand the arsenal of artistic means which are necessary for solving artistic problems of the time. In accordance with this approach, the article concentrates not only on compositions in which a spatial illusion is created, but also miniatures that are in character more plane. As a result, the author reveals the main types of spatial constructions, considering all surviving monuments of miniature painting of that time. For each type of space organization, the author identifies the basic principles and artistic techniques that allow the artist to convey a sense of depth on the plane of page. The author pays special attention to the comparison of illusionistic tendencies in the late antique book miniature and “reverse perspective”, features of which are present in the monuments of the era. The author casts doubt on the need for a sharp contrast between these two approaches to space organization in the monuments of book miniatures of the era. He analyzes the reasons for the appearance of such features of space organization in miniature paintings of late antique and early medieval manuscripts, which are so important for the formation of artistic language of medieval book illumination.
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Klamt, Johann-Christian. "Zur Reproduktionsgeschichte mittelalterlicher Schriftformen und Miniaturen in der Neuzeit Teil II: Die erste Hälfte des 19. Jahrhunderts." Quaerendo 29, no. 4 (1999): 247–74. http://dx.doi.org/10.1163/157006999x00103.
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AbstractWith the growing enthusiasm for medieval art and architecture during the first half of the 19th century also miniature painting gained larger attention by scholars in various parts of Western Europe. In the wake of great ancestors as Mabillon and Bessel - and still indebted to them - those men discussed and copied medieval miniatures with an astonishing sensibility for both the artistic detail and the historical background. But also these protagonists - with their manifold intentions and their endeavour for the spreading of fac-similes - can be caught manipulating - unconsciously or consciously - the original. Finally, it was the medium of photography which guaranteed 'objective' reproductions of miniatures, for the benefit of research in modern sense.
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Alexandrina, Alexandra V. "Miniatures in Medieval Chant Manuscripts of the TrinitySergius Monastery." Observatory of Culture, no. 5 (October 28, 2014): 102–7. http://dx.doi.org/10.25281/2072-3156-2014-0-5-102-107.
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Considers nontraditional decoration of chant manuscripts of the 15th and the 16th centuries. Basing on the comparison of miniatures and content analysis, the author argues the monastic provenance of the 16th century manuscript and explores the unique miniature of the 15th century Oktoih from the Russian State Library manuscript collection.
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Cosman, Madeleine Pelner. "Medieval Medical Miniatures." JAMA: The Journal of the American Medical Association 257, no. 5 (February 6, 1987): 683. http://dx.doi.org/10.1001/jama.1987.03390050109032.
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Чернецов, А. В. "RUINS OF FORTIFIED SETTLEMENTS IN THE DON VALLEY IN THE MINIATURES OF THE 16th CENTURY." Краткие сообщения Института археологии (КСИА), no. 264 (December 3, 2021): 366–75. http://dx.doi.org/10.25681/iaras.0130-2620.264.366-375.
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Статья посвящена двум миниатюрам XVI в. из Лицевого летописного свода Ивана Грозного. На них представлены изображения классических археологических памятников - городищ. Миниатюры находятся во Втором Остермановском томе Свода. Они иллюстрируют путешествие митрополита Пимена в 1389 г. по р. Дону. Первая миниатюра представляет руины древнерусского города Чюр-Михайлов; второй памятник имеет чужеземное название (Терклия). Он характеризуется в летописном тексте как «городище». Изображения двух мертвых городов являются маркерами, разделяющими заселенные регионы от пустынных. Городища на миниатюрах представлены схематично, тем не менее ясно показано наличие оборонительных стен и башен. The paper explores two miniatures of the 16th century from the Illustrated Chronicle of Ivan the Terrible. They contain images of classical archaeological sites, i.e. fortified settlements. The miniatures are from Osterman Volume II of the Chronicle. They illustrate the pilgrimage of Metropolitan Pimen to Constantinople down the Don River in 1389. The first miniature features ruins of the Medieval Russia city of Chyur-Mikhailov; the second site has a foreign name (Terklia). The text of the Chronicle describes it as ‘fortified settlement’. This is an image of two dead cities used as markers separating inhabited regions from vacant lands. The miniatures show the fortified settlements schematically; still defensive walls and towers are clearly identifiable.
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Pietrini, Sandra. "Anti-Rhetorical Strategies in Early Modern Images of Comic Actors: Harlequin’s Iconography and its Surviving Medieval Features." Early Modern Culture Online 5 (February 25, 2018): 53. http://dx.doi.org/10.15845/emco.v5i0.1290.
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The Compositions de Rhétorique by Tristano Martinelli were published in 1600 as a present to Maria de’ Medici for her marriage. The book is composed by blank pages interposed by images and the frontispice shows the famous actor as an almost hellish figure, bearing a pannier full of little Harlequins. A similar iconography pattern is to be seen in theRecueil Fossard, though as part of a dramatic context, and could ultimately derive from the iconography of Hellequin, as it is shown in a miniature of the Roman the Fauvel, where the hellish figure leads a cart with dead unchristened children. Discussing the hellish origin of Harlequin, most of scholars have neglected the evidence that some of his attributes are rooted in the sinful world of medieval entertainment. The pannier full of little kids or apes, for instance, recurs in medieval iconography of jesters, and since the XIVth century it begins to occur also in the depictions of devils, who assume some comical connotations. Exploring the context of medieval miniatures in relation to later iconography of actors, the article aims at rediscussing the vexed question of the hellish origin of Harlequin, providing some examples of a puzzling intertwining of elements and patterns.
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Studzińska, Joanna. "Siete 'Miniaturas medievales': el poema 'Miniatura średniowieczna' de Wisława Szymborska en sus traducciones al español, portugués, francés, inglés y alemán." Studia Romanica Posnaniensia 41, no. 1 (January 1, 2014): 129. http://dx.doi.org/10.14746/strop.2014.411.009.
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Cid, Carlos, and Isabel Vigil. "La miniatura del águila y la serpiente en los "Beatos"." Medievalia 10 (November 1, 1992): 115. http://dx.doi.org/10.5565/rev/medievalia.278.
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Amirbekian, Raisa. "Les Sujets Soufis Dans la Miniature Medievale Orientale (Collection du Maténadaran, Erevan)." Iran and the Caucasus 11, no. 1 (2007): 61–87. http://dx.doi.org/10.1163/157338407x224914.
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AbstractThe Matenadaran, Mashtots Institute of Ancient Manuscripts, is a unique repository of Armenian and Oriental manuscripts. The Oriental Collection of the Matenadaran (known usually as Arabo-Persian Collection), including manuscripts in Persian, Arabic, Turkish, Hebrew, Indian and other languages (total ca. 2,500), is formed over a long time and is regularly augmented by purchases and gifts. This collection covers nearly all subjects of human and natural sciences and culture, including theology, jurisprudence, Qur'ānic sciences, Tafsīrs, Hadīthes, lexicography, literature, poetry, history, politics, philosophy, logic, astronomy, magic, mathematics, medicine, veterinary, and agriculture. Among them there are some Sufi codices from the period of the 15th to the 19th century, illustrated and illuminated in the various ateliers in Iran and the region. The article presents the analysis of some Oriental medieval miniatures from the Matenadaran Collection connected with the Sufi motifs in their compositions. The most important are illustrative cycles of a copy dating back to 1848-1849 of the Commentaries of the Seven Qasidas by Husayn Ibn Ahmad al-Zuzani (Ms. no. 1610); of the Afghan manuscript of the 18th century Gulshan-i Afghan by 'Ali Akbar Oraqzay (Ms. no. 538); of a manuscript (no. 599) dated from 1841-1842 and containing the poem Yusuf va Zuleykha by 'Abd ul-Rahman Djami; and of a manuscript of 1629 (no.1036), the travel diary of the Iranian diplomat Muhammad 'Ali Bek Isfahani; as well a number of single miniature compositions from the collection of Louise Aslanian (Paris) (no.1999).
Dissertations / Theses on the topic "Miniatura medievale"
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Guernelli, Daniele <1974>. "La miniatura a Bologna sotto i Bentivoglio." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3155/1/Guernelli_Daniele_Tesi.pdf.
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Il lavoro tratta della produzione miniata a Bologna sotto la signoria dei Bentivoglio, tra il quinto decennio del Quattrocento ed il secondo decennio del secolo successivo.The work is about the illuminated manuscripts made in Bologna under the domination of the Bentivoglio family, between the fifth decade of the Fifteenth Century to the second decade of the next.
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Guernelli, Daniele <1974>. "La miniatura a Bologna sotto i Bentivoglio." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/3155/.
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Il lavoro tratta della produzione miniata a Bologna sotto la signoria dei Bentivoglio, tra il quinto decennio del Quattrocento ed il secondo decennio del secolo successivo.The work is about the illuminated manuscripts made in Bologna under the domination of the Bentivoglio family, between the fifth decade of the Fifteenth Century to the second decade of the next.
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Aghakhan, Gaigan Alberto <1990>. "Lo sviluppo della miniatura armena di Cilicia (XII secolo)." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/9128/1/Lo%20sviluppo%20della%20miniatura%20armena%20di%20Cilicia%20%28XII%20secolo%29.pdf.
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La tesi di dottorato ha come obiettivo principale l'indagine sull'arrivo e sulla diffusione della miniatura nella regione di Cilicia a partire dal XII secolo attraverso un'analisi stilistica e comparativa delle principali opere artistiche di questo periodo, ovvero i manoscritti Erevan, Matenadaran 7347; Washington D.C., Freer Art Gallery 50,3; Venezia, San Lazzaro 1635; Baltimora, Walters Art Gallery 538; Varsavia, Biblioteka Narodowa, Akc. 17680. Questi cinque Vangeli sono i più lussuosi e caratteristici della seconda metà del XII secolo e talvolta hanno strette somiglianze con gli altri manoscritti meno importanti. L'analisi visiva diretta mi ha dato l'opportunità di raccogliere molti dettagli non visibili dalle riproduzioni fotografiche e di redigere schede tecniche complete. In generale, la storia dell'arte della Cilicia è una successione di molte scoperte che hanno migliorato la visione della gamma espressiva della miniatura armena. Le nuove opportunità hanno dato agli artisti occasioni di esaminare manoscritti occidentali, e questa influenza artistica ha trasformato l'arte manoscritta armena. Ad esempio, la scoperta che uccelli, pesci ed esseri umani possono essere usati per formare le lettere dell'alfabeto è un'influenza dall'Occidente. Sebbene gli armeni si siano trovati in un mondo cosmopolita, la base ideologica e iconografica rimane invariata e una continuità radicale attraverso i secoli è quindi verificabile ed innegabile. Tre indici fondamentali lo dimostrano con assoluta certezza: la mobilità degli artisti tra l'Armenia e la Cilicia (incluso il miniatore Kozma, autore di Matenadaran 7347); la presenza di manoscritti dell'undicesimo secolo in Cilicia e l'uso della stessa tecnica pittorica e della stessa tavolozza di colori. La storia degli studi sui Vangeli cilici del XII secolo si limita principalmente ad alcune pubblicazioni generali di alcuni grandi studiosi (come Sirarpie Der Nersessian, Helen Evans, Viktor Lazarev).The doctoral thesis has for main objective the investigation on the arrival and the diffusion of the miniature in the Cilician region from the 12th century through a stylistic and comparative analysis of the main artistic works of this period, or the manuscripts Yerevan, Matenadaran 7347; Washington DC, Freer Art Gallery 50.3; Venice, St Lazarus 1635; Baltimore, Walters Art Gallery 538; Warsaw, Biblioteka Narodowa, Akc. 17680. These five Gospels are the most luxurious and characteristic of the second half of the Twelfth century and sometimes they have close similarities with the other less important manuscripts. Direct visual analysis gave me the opportunity to collect many details not visible by photographic reproductions, and to establish completes datasheets. In general, the art history of Cilicia is a succession of many discoveries that have improved the vision of the expressive range of the Armenian miniature. The new opportunities have given occasions to the artists to examine manuscripts from the West, and this artistic influence has transformed the Armenian manuscript art. For example, the discovery that birds, fish and humans can be used to form the letters of the alphabet is an Armenian debt to the West. Although Armenians have found themselves in a cosmopolitan world, the ideological and iconographic base remains unchanged, and a radical continuity through the centuries is therefore verifiable and undeniable. Three fundamental indices prove it with absolute certainty: the mobility of the artists between Armenia and Cilicia (including the miniaturist Kozma, author of Matenadaran 7347); the presence of eleventh century manuscripts in Cilicia and the use of the same pictorial technique and the same color palette. The history of studies about the Cilician Gospels of the twelfth century is mainly limited to some general publications of some great scholars (such as Sirarpie Der Nersessian, Helen Evans, Viktor Lazarev).
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Spiandore, Silvia. "Preziose trasparenze. la miniatura veneziana sotto cristallo di rocca (secoli XIII-XIV)." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423819.
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The present work is a systematic study of the Venetian production of items with illuminated paintings under rock crystal. Such a peculiar form of artistic craft has developed in the lagoon during the second half of the thirteenth century and was attested until the middle of the following century. The technique involved the application of painted parchment on different pieces of goldsmith’s art and it took advantage of the precious transparency of crystal to show up the shinning colors of the images. Even if it was already known in a limited way beyond the Alps, it became the prerogative of Venetian workshops: they only became able to skillfully value it and started a great market of luxury products. The thesis examines all the existing pieces: each one is considered by type, function, goldsmith’s decoration and, most of all, figurative matrix of the illuminated paintings. These objects are listed in a chronological order, better suited to visually show changes in the choice of decorative solutions happened over time. In addition to the catalog it has been prepared the main body of the book, divided into four sections. The research starts from an overview of the critical history of the subject. The limited knowledge of the subject is viewed in the more general lack of interest in Venetian artistic experiences during thirteenth and fourteenth centuries. Furthermore the research looks towards the material component of the pieces, studying the particular technique, its original context and the typically Venetian characteristics. Moreover a list of different structural types of pieces and their specific functions was carried out according to quantitative criteria. A first review of liturgical objects showed that crosses clearly stand out among them, followed by devotional tables, reliquaries, candlesticks, portable altars and even tissues of sacred insignia. There are also evidences for private and completely secular uses, such as the two wooden game boards for chess and backgammon. The study has finally focused on the section devoted to the stylistic analysis of illuminated paintings. They were infact produced in the same workshops engaged in book illustration and their examination allows expanding our understanding of the illumination during that period in Venice, which has only a few fixed points regarding the manuscripts’ decoration. In particular, the emerging of different groups of illuminators implies the activity of many workshops with characteristic figurative matrix and the presence of a very lively environment in which personalities of high standing coexisted with minor artists.Il presente lavoro è uno studio sistematico della produzione veneziana di oggetti con miniature sotto cristallo di rocca, peculiare tecnica affermatasi in laguna nel corso della seconda metà del Duecento ed attestata fino alla metà del secolo successivo. Essa prevedeva l’applicazione di pergamene dipinte su pezzi di oreficeria di diversa natura e si avvaleva della preziosa trasparenza del cristallo per far esaltare le vivaci colorazioni delle immagini. Nota già da alte datazioni in oggetti di produzione oltralpina, tale forma di artigianato artistico divenne prerogativa delle botteghe veneziane, che seppero abilmente valorizzarla creando un fiorente commercio di prodotti di lusso. Nella tesi vengono esaminati tutti gli esemplari esistenti, dei quali si analizza la tipologia, la funzione, l’apparato aurificiario nonché lo stile miniature. I pezzi sono catalogati secondo un criterio cronologico, atto a chiarire visivamente i mutamenti avvenuti nel corso del tempo. Accanto al catalogo, è stato predisposto il corpo principale del volume, articolato in quattro sezioni. La ricerca parte dall’esame della vicenda critica, che contestualizza la limitata conoscenza dell’argomento nel più generale scarso interesse rivolto dalla critica novecentesca alle esperienze figurative veneziane sorte a cavallo fra XIII e XIV secolo. In seguito ci si volge allo studio della componente materiale delle opere, attraverso l’indagine della particolare tecnica esecutiva, dell’originale contesto di formazione e delle peculiarità prettamente veneziane. Si è dunque proceduto nel sondare le diverse tipologie strutturali dei pezzi e le funzioni caratteristiche, secondo un criterio espositivo di tipo quantitativo. Dapprima si sono passate in rassegna le oreficerie sacre: tra esse spiccano nettamente le croci, seguite da tavole devozionali, reliquiari, candelieri, altari portatili e perfino da tessuti di insegne liturgiche. Vengono poi le prove riservate ad un utilizzo privato e del tutto profano, che si condensano in due tavolieri lignei per il gioco degli scacchi e della tavola reale. Il fulcro del lavoro è infine condensato nella sezione dedicata all’analisi stilistica dei manufatti. Le pergamene sotto cristallo sono infatti prodotte nelle stesse botteghe che si dedicavano all’illustrazione libraria ed il loro esame ha permesso di ampliare la conoscenza della miniatura del periodo, che per quanto riguarda la decorazione di codici dispone di ben pochi punti fermi. Sono emersi in particolare vari gruppi omogenei di miniature, che sottintendono l’attività di botteghe dalla diversa matrice figurativa, e la presenza di un contesto molto vivace, in cui convivono personalità di alta levatura ed artisti minori dal fare poco sorvegliato.
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VOLPERA, FEDERICA. "Lo scriptorium di San Domenico e la miniatura a Genova nel Duecento: un riesame e aggiunte al corpus." Doctoral thesis, Università degli studi di Genova, 2021. http://hdl.handle.net/11567/1057744.
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This thesis is aimed at a reconsideration of the last quarter of XIII century Genoese illuminating painting related to the scriptorium of St. Domenico monastery and characterized by the style of the so-called Master of the ms. Lat. 42. The analysis of manuscripts, already identified as Genoese but which needed further research, and previously unknown or attributed to another context allowed me not only to enrich the Ligurian corpus but also to open new frontiers of research. In particular I have analyzed types of books not yet considered in the Genoese production, such as philosophical and legal texts, and I have not only focused on stylistic aspects but also on the mise en page, the mise en teste, iconographic details and the construction of the image painted along the borders of the page and in the historiated initials.
The work has been organized in this way. Chapter 1 introduces the theme of the research, giving a reconstruction of the critical history of the last quarter of XIII century Genoese illuminating painting, and focusing on questions which need further research, in particular the relationship between the Dominican scriptorium and the activities of Pisa scribes and illuminators, who were in Genoa as prisoners after the Battle of Meloria (1284). Chapter 2 deals with the value of books for the Dominicans in order to understand more deeply the possible role of this order in the circulation, execution, and production of manuscripts in Genoa. Chapters 3-5 focus on liturgical, legal and medieval manuscripts respectively. Each chapter essay is followed by the catalogue proper with an entry for each manuscript I saw directly. Chapters 6-9 expand upon specific texts, situating their creation and function more fully within their social and political context, with a special focus on the meaning of iconographical programs, compositions and motifs in the last Thirteenth century Genoese society.
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Zonno, Sabina. "Miniatura a Parigi nel tempo di Luigi IX: il Salterio della Biblioteca del Seminario di Padova (ms. 353) e i codici del Copenhagen 'Corpus' atelier." Doctoral thesis, Università degli studi di Padova, 2011. http://hdl.handle.net/11577/3421703.
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The aim of this research is to analyse a superb medieval illuminated Psalter that is kept in the Biblioteca del Seminario vescovile in Padua (ms. 353). The exceptional beauty of its full-page miniatures and historiated initials in a distinctive Gothic language makes of this manuscript one of the highest examples of thirteenth-century European illumination. The excellent quality of its materials indicate that this lavish codex results from a very prestigious commission. First of all, this study intends to investigate the origins of this precious manuscript arrived in Padua from the Paris of Louis IX in the time of Francesco il Vecchio da Carrara. The mysterious identity of the patroness who appears in a miniature in the book as a modestly dressed lady is examined and a new hypothesis on her has been put forward. The detailed examination of the calendar shed light on her mysterious identity revealing her possible relation to the Capetian court.
The manuscript was illuminated in Paris, possibly in the end of the 1260s, as the analysis of the script, the iconography, and the syle of the decoration testify to. The comparison with some of the most sumptuous Parisian exemplars commissioned by the royalty in the 1250s-1270s confirms both the exceptionality of this Psalter in thirteenth-century illumination history and the high status of this female patron. At the end of the fourteenth century, the Psalter was already in Padua in possession of another distinguished female owner named Bartolomea Da Carrara. The Paduan historical and cultural context is analysed in the second part of this work to document the story of the Psalter. The book belonged to the abbess of the Paduan Benedictine monastery of San Pietro Bartolomea da Carrara as some notes on the book confirm. Her mysterious identity has been explored and a link to the influential Carrara family seems to result from the analysis of the medieval documents found. After her death in 1413, the codex was preserved by the nuns of San Pietro until it entered the Biblioteca del Seminario in the nineteenth century where it is still kept.La presente ricerca si propone di prendere in esame un superbo Salterio pervenuto alla Biblioteca del Seminario vescovile di Padova (ms. 353) in età napoleonica dal monastero benedettino femminile di San Pietro dove fu conservato per circa quattro secoli. Questo codice che si mostra essere una squisita opera francese del Duecento, confezionata per una misteriosa gentildonna ritratta in una miniatura a piena pagina di fronte alla Vergine in trono con il Bambino, giunse nella Padova carrarese tra la fine del Trecento e gli inizi del Quattrocento e servì alla preghiera di una illustre figura femminile patavina quale fu la badessa del monastero di San Pietro Bartolomea da Carrara. L'appartenenza del manoscritto a questa donna, sulla cui identità la critica si è a lungo interrogata nel tentativo di dimostrare un possibile legame con la famiglia dei da Carrara, nel Trecento signora di Padova, è attestata da due note di possesso e da alcune significative annotazioni che documentano anche la data di morte di Bartolomea nel marzo del 1413 e il suo lascito del codice alla comunità di San Pietro, che lo conservò gelosamente fino all'Ottocento. Poco prima delle soppressioni napoleoniche, che determinarono la fine del monastero di San Pietro, le religiose di questa comunità dovettero affidarlo al vescovo di Padova Francesco Scipione Dondi Dall'Orologio che qualche tempo dopo lo donò alla Biblioteca del Seminario come documenta una nota apposta al principio. Questo studio è quindi inteso da un lato a indagare le origini di questo prezioso esemplare che si configura come uno dei più straordinari esiti dell'arte gotica francese e dall'altro ad esaminare l'avventurosa storia di questo manoscritto che dalla Francia di Luigi IX pervenne nella Padova di Francesco il Vecchio. L'analisi paleografica, iconografica e stilistica ha permesso di individuare il contesto di provenienza di questo codice di grandissimo pregio riconoscendone il legame con la miniatura parigina del terzo quarto del Duecento di ambiente assai vicino alla corte capetingia. Si è inoltre avanzata una nuova ipotesi identificativa della committente basata principalmente sullo studio delle ricorrenze del calendario e delle litanie. Si è poi cercato di spiegare attraverso quali vie questo manoscritto potrebbe essere giunto in città in epoca carrarese, prestando particolare attenzione alla figura di Bartolomea da Carrara che possedette il manoscritto tra la fine del Trecento e gli inizi del Quattrocento e sulla quale lo spoglio delle fonti documentarie ha permesso di trovare nuovi appigli cronologici e soprattutto degli elementi che sembrano confermare l'ipotesi del rapporto con la dinastia carrarese.
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CANDIANI, STEFANO. "IL MAESTRO DEL 'PANTHEON' E LA SUA BOTTEGA A MILANO NELLA CULTURA FIGURATIVA LOMBARDA DELLA PRIMA META' DEL XIV SECOLO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2019. http://hdl.handle.net/10280/119345.
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La tesi è articolata in quattro capitoli. Nel primo si è ripercorso lo status questionis e la fortuna critica del Maestro del "Pantheon" e della sua bottega: tale artista, infatti, è noto agli studi già da un secolo. Si sono pertanto enumerati i diversi interventi degli studiosi, soffermandosi sui principali, esponendoli criticarmene e provvedendo a sfrondare le ipotesi oggigiorno meno praticabili. Nel secondo capitolo si è data voce ad un’analisi del codice Lat. 4895 (Parigi, Bibliothèque nationale de France), mostrando le specificità sia del miniatore bolognese, attivo nei primi fogli, sia del Maestro del "Pantheon", attivo nella restante parte delle carte. Nel terzo capitolo si sono analizzati i codici attribuibili alla bottega del Maestro del "Pantheon", collocati cronologicamente nel quarto decennio del XIV secolo, nonché sono stati presi in considerazione i volumi commissionati da Bruzio Visconti, il quale fu prolifico mecenate di manoscritti miniati tra quarto e quinto decennio del XIV secolo. Nel quarto capitolo, infine, si sono voluti mostrare i collegamenti fra il Maestro del "Pantheon" e la cultura figurativa lombarda della prima metà del secolo; facendo anche emergere la figura di Giovami Visconti, arcivescovo di Milano, quale committente e possessore di codici.The thesis is divided into four chapters. The first traces the status questionis and the critical fortune of the Master of the "Pantheon" and of his workshop: this artist, in fact, has been known for a century. Therefore, the various interventions of the scholars have been enumerated, focusing on the main ones, exposing them, criticize them and removing the hypotheses that are less probable today. In the second chapter, was provided an analysis of the ms. Lat. 4895 (Paris, Bibliothèque nationale de France), showing the specific characteristics firstly of the Bolognese illuminator, active in the first leaves, and secondly of the Master of the "Pantheon", active in the remaining leaves. The third chapter analyzes the codes attributable to the workshop of the Master of the "Pantheon", placed chronologically in the fourth decade of the fourteenth century, as well as the volumes commissioned by Bruzio Visconti, who was a prolific patron of illuminated manuscripts between the fourth and fifth decade of the fourteenth century. Finally, in the fourth chapter, is showed the connections between the Master of the "Pantheon" and the Lombard figurative culture of the first half of the century; also bringing out the figure of Giovami Visconti, archbishop of Milan, as patron and owner of manuscripts.
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Ponchia, Chiara. "Frammenti dell'Aldilà. Immagini nella Divina Commedia nell'Italia settentrionale del Trecento." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423513.
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The scope of my thesis is to analyze the genesis and the development of the Divine Comedy illustration in Northern Italy during the XIV century.
In section 1 I present the most representative manuscripts, that I selected because of the great number of illuminations and because of the particular iconographic solutions they present. Section 2 is dedicated to the analysis of the different illuminated images created by the first Divine Comedy illuminators to represent the main characters of Dante’s poem and the landscapes of the three Realms. In my analysis, I pay particular attention to the sources, visual and textual, that inspired illuminators when they had to face the difficult challenge of illustrating a new text with no previous iconographic tradition.
In section 3 I analyze the relationship between text and images in the manuscripts chosen for my thesis. Also in this case, I pay great attention to the possible sources that may have inspired illuminators. Concerning this, medieval novel illumination turned out to be a very fruitful field of investigation, as the spread of illuminated novels in Northern Italy at the beginning of the XIV century seems to have been one of the main incitements for the development of a narrative pictorial style.Il mio lavoro ha come oggetto la genesi e lo sviluppo dell’illustrazione miniata della Divina Commedia nell’Italia nord-orientale nel XIV secolo. La tesi muove dall’individuazione di un corpus di manoscritti significativi per numero di immagini e tipologie illustrative impiegate. Ai manoscritti principali è dedicato un capitolo di approfondimento finalizzato soprattutto a rilevare le principali problematiche storico-artistiche ad essi correlate. Particolare attenzione è dedicata all’Egerton 943, per il quale si propone una nuova datazione. Il lavoro prosegue con un’attenta analisi delle soluzioni adottate dai miniatori della Divina Commedia per illustrare un testo nuovo e pertanto privo di una tradizione iconografica consolidata. Ampio spazio è dato allo studio delle fonti, visive e in alcuni casi testuali, cui si rivolsero i miniatori in cerca di ispirazione, partendo da alcuni affondi analitici sulle iconografie adottate per raffigurare i personaggi principali, quali ad esempio Caronte e Minosse, per poi passare allo studio dei modelli visivi scelti per ricreare le ambientazioni di inferno, purgatorio e paradiso. Allo studio della figurazione si aggiunge poi l’analisi delle principali forme di rapporto testo-immagine nei codici padani della Divina Commedia. Anche in questo caso vengono prese in esame le possibili fonti, attraverso un’approfondita ricognizione delle principali tipologie di racconto per immagine riscontrabili nell’Italia nord-orientale tra la fine del Duecento e l’inizio del secolo successivo. In particolare, si è rivelato proficuo lo studio dei codici cavallereschi, che paiono essere l’ambito privilegiato di elaborazione dei principali sistemi impaginativi che saranno poi impiegati nei più antichi testimoni settentrionali del poema.
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Garcia, Muriel Araujo Lima. "As imagens em bestiários ingleses dos séculos XII e XIII." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-03122015-154827/.
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Bestiários são manuscritos ricamente ilustrados e, no entanto, há poucos estudos dedicados especificamente às suas imagens. Deste modo, esta pesquisa tem por objetivo investigar o papel das imagens em três bestiários produzidos na Inglaterra entre os séculos XII e XIII, redigidos em latim. Partimos do princípio de que essas imagens não têm uma função meramente ilustrativa ou mnemônica, uma vez que raramente fazem referência às moralizações e exegeses do texto. A proposta principal desta pesquisa é, pois, analisar as imagens e suas funções nos manuscritos tendo em mente que a lógica do pensamento figurativo não é a mesma da do texto.Bestiaries are richly illustrated manuscripts, however, there are few studies devoted specifically to its images. As it is, the purpose of this research is to investigate the role played by the images in three Latin bestiaries produced in England during the twelfth and thirteenth centuries. Our hypothesis is that these images do not serve a merely illustrative or mnemonic function, as they rarely reference the textual moralizations and exegeses. The objective of this work is to analyze the images and their functions in the manuscripts bearing in mind that the logic of figurative thought is not the same as the texts.
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Gómez, Nora M. "Iconografía diabólica e infernal en la miniatura medieval hispana. Los beatos." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/386413.
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La investigación se ha centrado en la iconografía diabólica e infernal en el corpus de los Beatos hispanos, entre la segunda parte del siglo X y las primeras décadas del XIII. En una primera parte se ha indagado acerca de la conceptualización de la personificación del mal en la figura del Diablo y en cómo imaginaron el Infierno las culturas antiguas de la cuenca del Mediterráneo. Se ha dedicado particular interés a las Escrituras canónicas judeocristianas que determinarían la austeridad representativa de las primigenias imágenes de nuestro objeto de estudio, en consonancia con los planteos teológicos de la Patrística temprana.
Debido a que las imágenes acompañan al "Comentario al Apocalipsis" de Beato de Liébana, se ha contextualizado la producción hispana dentro del panorama artístico europeo en lo referente a la ilustración del Libro de la Revelación; se han consultado y analizado los escritos apocalípticos extracanónicos y la tradición oral u escrita musulmana como posibles fuentes iconográficas a la hora de representar a los personajes y los lugares del más allá.
El trabajo incluye el relevamiento completo de once escenas en que las fuerzas del mal operan en la era escatológica y luego son derrotadas y aprisionadas en la estancia punitiva, en todo el corpus de veintisiete códices. Su análisis demuestra que mientras la iconografía se mantiene fiel a la tradición hispana de sus primeros ejemplares, el estilo se va adaptando a los lineamientos formales del románico, en función de la internacionalización de dicho estilo.
El apéndice fotográfico reúne por primera vez la totalidad de las imágenes diabólicas e infernales en el corpus beatiano.The research has focused on the diabolical and infernal iconography in the corpus of Hispanic Beatus, between the second half of the tenth century and the first decades of the thirteenth. In the first part has inquired about the personification of evil in the figure of the Devil and how Hell was imagined in ancient cultures of the Mediterranean basin. It has devoted particular interest to judeochristians canonical Scriptures that would trigger austerity representative of the primordial images of our object of study, consistent with the theological proposals of the early Fathers. Because the images are accompanying the "Commentary on the Apocalypse" of Beatus of Liebana, it has contextualized the Hispanic production in the European art scene and has analyzed the apocalyptic writings extracanonical and oral or written Muslim tradition as possible iconographic sources when representing the characters and the places of the Other World. The work includes the full survey of eleven scenes in which the forces of evil operating in the eschatological age and then are defeated and imprisoned in punitive stay throughout the corpus of twenty codices. Their analysis shows that while the iconography is faithful to the hispanic iconography tradition of its first copies, the style adapts to the formal guidelines of Romanesque, depending on the internationalization of that style. The photographic appendix meets for the first time all the diabolical and infernal images in the twenty seven copies of the Beatus.
Books on the topic "Miniatura medievale"
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De clarea: Manuale medievale di tecnica della miniatura, secolo XI. Salerno: Arci Postiglione, 2004.
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Franco, Brunello, ed. De arte illuminandi: E altri trattati sulla tecnica della miniatura medievale. Vicenza [Italy]: Neri Pozza, 1992.
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Franco, Brunello, ed. De arte illuminandi: E altri trattati sulla tecnica della miniatura medievale. Vicenza [Italy]: Neri Pozza, 1992.
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Franco, Brunello, ed. De arte illuminandi: E altri trattati sulla tecnica della miniatura medievale. Vicenza [Italy]: Neri Pozza, 1992.
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Soledad de Silva y Verástegui. La miniatura medieval en Navarra. Pamplona: Gobierno de Navarra, 1988.
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Jones, Peter Murray. Materia medica, miniature medievali. [London]: British Library, 1997.
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Medieval medical miniatures. Austin: University of Texas Press, 1985.
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1936-, Yarza Joaquín, ed. La miniatura medieval en la Península Ibérica. Murcia: Nausícäa, 2007.
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Diego, Alonso Montes, and Asociación de Amigos del Arte Altomedieval Español, eds. La miniatura altomedieval española. Madrid: Vision Libros, 2011.
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Eberlein, Johann Konrad. Miniatur und Arbeit. Frankfurt am Main: Suhrkamp, 1995.
Find full textBook chapters on the topic "Miniatura medievale"
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Manzari, F. "Gli studi sulla miniatura medievale e rinascimentale negli anni 1993-1998." In Textes et Etudes du Moyen Âge, 375–403. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.tema-eb.3.2103.
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Cré, Marleen. "Hoccleve the Poet: A Miniature." In The Medieval Translator, 411–25. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.tmt-eb.5.111979.
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L’Engle, Susan. "Addressing the Law: Costume as Signifier in Medieval Legal Miniatures." In Encountering Medieval Textiles and Dress, 137–53. New York: Palgrave Macmillan US, 2002. http://dx.doi.org/10.1007/978-1-137-08394-4_9.
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Treharne, Elaine. "‘Covered with Protecting Boards’." In Perceptions of Medieval Manuscripts, 146–67. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192843814.003.0007.
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Chapter 7 investigates images of manuscripts contained within illustrations in medieval books to determine how medieval manuscript compilers and artists themselves understood the form of the codex. Notably, many miniature books are shown as being held by hands that are veiled by garments in an acknowledgement of the book’s holiness and point of connection between this world and the celestial. The Byzantine influence of this artistic motif is seen in the Encomium Emmae and analogous manuscripts. Analysis of miniature books gives rise to a taxonomy of the book through its form and position in illustrations, where books are depicted as whole and often hefty objects. This new observation calls into question the utility of seeing medieval books as comprised of parts, instead of recognizing the validity of their voluminousness and the requirement of touch for the full functioning of the codex.
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Simpson, Grant G. "6 Kingship in Miniature: A Seal of Minority of Alexander III, 1249-1257." In Medieval Scotland, 131–39. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474468640-010.
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Pearce, Judith. "Liturgy and Image: The Advent Miniature in the Salisbury Breviary." In Medieval Texts and Images, 25–42. Routledge, 2019. http://dx.doi.org/10.4324/9780429197970-2.
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Rudy, Kathryn M. "An Illuminated English Guide to Pilgrimage in the Holy Land: Oxford, Queen’s College, MS 357." In Imagining Jerusalem in the Medieval West. British Academy, 2012. http://dx.doi.org/10.5871/bacad/9780197265048.003.0009.
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Few medieval pilgrims' guides were written in English; even fewer were illuminated. This chapter examines Oxford, Queen's College, MS 357, a manuscript made in England in the late fifteenth century, which possesses both qualities. The manuscript contains a variety of texts written in Latin and English including pilgrims' guides, prayers to be said at holy sites in Palestine, travellers' tales, and descriptions of miracles that have taken place at shrines. It is also exuberantly illuminated. The miniatures begin with an Annunciation and end with Christ in Judgment. These two images form the parentheses around the others in the manuscript, which depict sites in the Holy Land. The miniatures and decoration unite the disparate texts, turning them into a scale model of salvation history and providing a prompt to virtual pilgrimage.
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Vines, Vera F. "Reading Medieval Images: Two Miniatures in a Fifteenth-Century Missal." In Medieval Texts and Images, 127–47. Routledge, 2019. http://dx.doi.org/10.4324/9780429197970-8.
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Wright, Vanessa. "Illuminating Queer Gender Identity in the Manuscripts of the Vie de sainte Eufrosine." In Trans and Genderqueer Subjects in Medieval Hagiography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988248_ch06.
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This chapter analyses the visual representations of the Vie de sainte Eufrosine in three fourteenth-century Parisian manuscripts. It questions how two medieval artists, the Maubeuge Master and the Fauvel Master, approached illustrating the text’s protagonist St Eufrosine/Esmarade, a figure assigned female at birth who lives most of their life as a eunuch in a monastic community. This chapter examines the artists’ depiction of St Eufrosine/Esmarade in three manuscript miniatures, comparing how the artists used signifiers of gender and identity in their portrayals of the saint and other figures to reveal the extent to which the artists represented the saint’s queer gender visually.
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Ruprecht, Lucia. "Gestures between the Auratic and the Profane." In Gestural Imaginaries, 151–68. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.003.0008.
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This chapter focuses on the ways in which Niddy Impekoven’s Bach dances and Franz Kafka’s “Conversation with the Supplicant” reenact the embodied tradition of liturgy. It singles out postures of inclination as poses of quiet ecstasy and devout submission to the divine, working closely with Dora Kallmus’s photographs of Impekoven. Impekoven’s posture is read alongside Benjamin’s observations on inclination (Neigung) in the Bible illustrations of medieval miniature painting, which he rediscovers in expressionist art, and which he links to historical instances of collective guilt. It is also read alongside an extravagant reenactment of prostration in Kafka, which constitutes an instance of Agambian profanation. Kafka shows how modified reenactments of a given gestural vocabulary undermine this vocabulary’s conditions of meaning; Impekoven in turn demonstrates how such conditions of meaning can be enhanced.
Conference papers on the topic "Miniatura medievale"
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Jain, Priyanka. "Descolonizando a recitação de imagens." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.150.g295.
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A recitação de imagens é a arte de contar histórias em verso, acompanhada por um acessório visual, como uma pintura em pergaminho ou uma tapeçaria. Numerosas práticas de recitação de imagens eram ativas na Índia, mas sofreram durante a colonização pelos britânicos de várias maneiras. A sutil censura vitoriana do tema do erótico expresso nas narrativas religiosas (que formavam a maior parte do gênero de recitação de imagens), o apagamento da oratura como primitiva, o rebaixamento das práticas de recitação de imagens como arte popular e a divisão entre imagens (objeto e adereços que podem ser exibidos em museus) e recitação (aspectos performativos que não poderiam ser facilmente museificados), enquanto enchia museus europeus com artefatos coloniais, infligiu enormes danos às tradições vivas de recitação de imagens na Índia. Minha pesquisa, conduzida pela prática, busca descolonizar a recitação de imagens para desfazer estes danos. Seguindo o apelo de Walter Mignolo para desvincular-se da hegemonia ocidental, procuro destacar (em vez de noções europeias de beleza e estética) teorias indianas clássicas de afeto (de cerca de 300 d.C.), que podem produzir prazer estético no espectador. Assim, usando a teoria Rasa indiana clássica, bem como a subversão, eu crio narrativas contemporâneas para recitação de imagens usando fatos empíricos de pesquisas científicas (Neurociência, Microbiologia, Fitoquímica e Meteorologia) que são auxiliadas por adereços visuais feitos por amalgamação da estética da pintura em miniatura indiana medieval também como ilustração médica contemporânea. Uma pesquisa conduzida pela prática é o único método para resgatar a prática da recitação de imagens, assim como a prática contemporânea das neo-miniaturas resgatou o gênero das pinturas em miniatura da classificação do kitsch oriental. Ao investir em temas eróticos e oratura, bem como reunir imagem e recitação, espero remover os efeitos adversos da colonização de alguns gêneros de artes indianas. Concretamente, minha prática visa contemporizar a poesia sânscrita erótica clássica, que existe desde 1.000 a.C., compondo poesia erótica que incorpora pesquisa científica e criando composições de imagem e texto, como antes eram encontradas nas miniaturas indianas medievais. A segunda abordagem visa reviver a recitação de imagens usando um arquétipo indiano clássico de uma heroína que sai para encontrar seu amante enfrentando graves perigos e contemporizando-o com a leitura de neurociências. Por meio da prática, descubro minhas memórias corporais que vêm à tona durante a performance; o papel da respiração na voz; como a imagem, o texto, a voz e a performance influenciam uns aos outros iterativamente; e como o efeito é transferido através da performance para o espectador. Por meio da prática, estabeleço um campo mais amplo para os recém-chegados com maior vigor e validade do que, simplesmente, fazer eco a um apelo teórico à descolonização. A uma apresentação da recitação da imagem, será incorporado um vídeo de dez minutos.
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Jain, Priyanka. "Descolonizando la recitación de imágenes." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.150.g294.
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La recitación de imágenes es el arte de contar historias en verso acompañado de un accesorio visual como una pintura de pergamino o un tapiz. Numerosas prácticas de recitación de imágenes se realizaban en la India, pero sufrieron de muchas maneras durante la colonización por los británicos. La sutil censura victoriana del tema de lo erótico expresado en las narrativas religiosas (que formaban la mayor parte del género de recitación de imágenes), el borrado de la oratura como primitiva, la relegación de las prácticas de recitación de imágenes como arte popular y la división entre la imagen (objetos y accesorios de utilería que se pueden exhibir en museos) y la recitación (aspectos performativos que no se podrían musealizar fácilmente), al tiempo que llenan los museos europeos con artefactos coloniales, han infligido un gran daño a las tradiciones vivas de recitación de imágenes en la India. Mi investigación dirigida por la práctica busca descolonizar la recitación de imágenes para deshacer estos daños. Siguiendo el llamado de Walter Mignolo de desvincularse de la hegemonía occidental, busco resaltar, en lugar de las nociones europeas de belleza y estética, las teorías indias clásicas del afecto de alrededor del año 300 d.C. que pueden producir placer estético en el espectador. Por lo tanto, utilizando la teoría clásica india de Rasa y la subversión, creo narrativas contemporáneas para la recitación de imágenes utilizando hechos empíricos de la investigación científica (neurociencia, microbiología, fitoquímica y meteorología), que se complementan con accesorios visuales hechos al fusionar la estética de la pintura india en miniatura medieval, así como con la Ilustración médica contemporánea. La investigación guiada por la práctica es el único método para redimir la práctica de la recitación de imágenes, al igual que la práctica contemporánea de las neominiaturas ha rescatado el género de las pinturas en miniatura de la clasificación del kitsch oriental. Al invertir en temas eróticos y oraturas, así como al reunir imágenes y recitaciones, espero eliminar los efectos adversos de la colonización en algunos géneros de artes indias. Concretamente, mi práctica se centra en la contemporización de la poesía sánscrita erótica clásica que existe desde el año 1000 a. C., componiendo poesía erótica que incorpora la investigación científica y creando composiciones de imagen y texto como una vez se encontró en las miniaturas indias medievales. El segundo enfoque busca revivir la recitación de imágenes usando un arquetipo clásico indio de una heroína femenina que sale al encuentro de su amante desafiando graves peligros y contemporizándola con la lectura de las neurociencias. A través de la práctica, descubro mis recuerdos corporales que emergen durante la actuación y el papel de la respiración en la voz, así como la imagen, el texto, la voz y la actuación se influyen mutuamente de forma iterativa y el afecto se transfiere a través de la actuación al espectador. A través de la práctica, establezco un campo más amplio para los recién llegados, con mayor vigor y validez que simplemente repitiendo un llamado teórico a la descolonización. Se incorporará una interpretación de la recitación de imágenes dentro del video de 10 minutos de la presentación.
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Grushin, Sergei, Nadezhda Dubova, and Aleksei Fribus. "MINIATURE COLUMNS OF BMAC: THEIR MORPHOLOGICAL PECULIARITIES AND POSSIBLE PURPOSE." In ANCIENT AND MEDIEVAL CULTURES OF CENTRAL ASIA (THE FORMATION, DEVELOPMENT AND INTERACTION OF URBANIZED AND CATTLE-BREEDING SOCIETIES). Institute for the History of Material Culture of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.31600/978-5-907298-09-5-70-74.
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Рогожинский, А. Е., and Д. В. Черемисин. "AN UNUSUAL SUBJECT IN THE ROCK ART IMAGERY OF THE OLD-TURKIC PERIOD FROM THE ALTAI." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.361-366.
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В 2001 г. в долине р. Чаган на Алтае найдена и опубликована Д.В.Черемисиным удивительная миниатюра, гравированная на скале в древнетюркское время. В центре изображен породистый конь с тамгой на крупе, с двух сторон удерживаемый на веревках воинами третий воин готовится выстрелить в животное из лука. Первоначально воспринятая как сцена укрощения или жертвоприношения коня, эта картина теперь рассматривается авторами как необычный для традиционного наскального искусства и для эпоса кочевников Центральной Азии сюжет, повествующий о намеренном убийстве коня, отмеченного тамгой его владельца. Точный возраст миниатюры пока не установлен. Своеобразная форма тамги имеет сходство с тамгами басмылов, представленными на памятниках Монголии, но более напоминает тамгу тюргешей, известную по нумизматическим материалам и петроглифам Семиречья. In 2001 an amazing miniature engraved during the Old-Turkic period on a rock in the Chagan Valley in the Altai, was found and published by D.V. Cheremisin. In the center of the composition a thoroughbred horse with a tamga on its croup is engraved, it is held with ropes by two warriors the third warrior is preparing to shoot the animal with a bow. Originally perceived as a scene of taming or sacrificing a horse, this depiction is now considered by the authors as a subject, unusual for the traditional rock art and for the epic of Central Asian nomads: the purposive killing of a horse marked by its owners tamga. The exact dating of the engravings has not yet been established. The peculiar form of the tamga resembles the Basmyls tamga represented in rock art and at the memorial stele from Bombogor (Mongolia), but is more reminiscent of the tamga of the Turgeshes, known from early medieval coins and petroglyphs of the Semirechye in Kazakhstan.