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1
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 (31 août 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 (10 novembre 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.
3
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 (28 octobre 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 (6 février 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 (3 décembre 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 (25 février 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 (1 janvier 2014) : 129. http://dx.doi.org/10.14746/strop.2014.411.009.
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Cid, Carlos, et Isabel Vigil. « La miniatura del águila y la serpiente en los "Beatos" ». Medievalia 10 (1 novembre 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).
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Scordia, Lydwine. « « Le roi refuse l'or de ses sujets ». Analyse d'une miniature du « Livre de bonnes meurs » de Jacques Legrand († 1415) ». Médiévales, no 46 (1 juin 2004) : 109–30. http://dx.doi.org/10.4000/medievales.1049.
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Prota, Mariateresa. « Rapport texte-image : deux miniatures du manuscrit pisano-génois Aberystwyth, National Library of Wales, 444D ». Médiévales, no 82 (10 novembre 2022) : 163–80. http://dx.doi.org/10.4000/medievales.12240.
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Pradier, Adrián. « Iconografía de la creación de los ángeles. Estudio de estética y filosofía medieval ». De Medio Aevo Avance en línea (15 septembre 2022) : 1–23. http://dx.doi.org/10.5209/dmae.83790.
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Una de las cuestiones exegéticas más controvertidas de la teología patrística atañe a la creación de los ángeles, capítulo eludido en el Génesis. La cuestión era especialmente gravosa si se tienen en cuenta las importantes funciones de mediación atribuidas a los ángeles en contextos no solo teológicos, sino también filosóficos. Esta circunstancia pone de manifiesto la presencia en la tradición latina de, al menos, dos perspectivas, iniciadas respectivamente por san Agustín y san Ambrosio. El objeto de este trabajo de estética medieval consiste en analizar las distintas decisiones en torno al motivo de la creación de los ángeles y en estudiar cómo los escribas e iluminadores medievales, en esta como otras cuestiones, proponían con sus miniaturas el apoyo a una u otra posición, hasta el punto de generar distintos tipos iconográficos de acuerdo a las posiciones doctrinarias a las que se adscribieran. Nos aproximaremos al papel que jugaban los ángeles en la filosofía patrística y la consecuente importancia teológica de la cuestión en torno a su creación. Se estudian, seguidamente, las principales contribuciones latinas en el campo de los comentarios a los seis días de la Creación, tomando como base las dos alternativas mencionadas. Se propone, en tercer lugar, el análisis de una selección de imágenes provenientes de manuscritos medievales de entre los siglos XII al XIV con el propósito de identificar los tipos iconográficos del motivo indicado. Por último, presentamos unas consideraciones finales.
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Batirov, Jahongir Sobirovich, et Sherali Naimovich Avezov. « THE CURRENT IMPORTANCE OF THE PHILOSOPHICAL AND PEDAGOGICAL VIEWS OF MEDIEV GOGICAL VIEWS OF MEDIEVAL THINKERS ON AR AL THINKERS ON ARTOF THE PHILOSOPHICAL AND PEDAGOGICAL VIEWS OF MEDIEVAL THINKERS ON ART ». Scientific Reports of Bukhara State University 4, no 4 (28 août 2020) : 293–96. http://dx.doi.org/10.52297/2181-1466/2020/4/4/4.
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In the article, there is a growing demand for critical learning and implementation of all the best in painting in schools in Uzbekistan and the Commonwealth countries, all of which summarize the history and development of Oriental miniature art and, therefore, provide a historical overview. It is said that the stylistic essence of art, its aesthetic power, is directly related to modern requirements.
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Farmer, Thomas. « Christopher de Hamel, The Medieval World at Our Fingertips : Manuscript Illuminations from the Collection of Sandra Hindman. London : Harvey Miller Publishers, 2018, 264 pp., 270 color illus. » Mediaevistik 31, no 1 (1 janvier 2018) : 453–54. http://dx.doi.org/10.3726/med012018_453.
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Sandra Hindman has enjoyed a distinguished career as an art historian: She taught at Northwestern University (1984–2002), published numerous books and articles, served on the Board of Trustees of the Newberry Library (2003–14), and founded the gallery Les Enluminures, which purchases medieval manuscripts and miniatures. To honor her scholarship, from January 27 to May 28, 2018, the Art Institute of Chicago mounted an exhibition of thirty manuscript miniatures from Hindman’s personal collection, seven of which she had donated to the Art Institute. The Medieval World at Our Fingertips is the catalogue accompanying this exhibition, and it is a delightful tribute to Hindman’s career.
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Caiozzo, Anna. « Éclipse ou Apocalypse. Remarques autour du nœud du dragon dans les miniatures des Commentaires de l’Apocalypse de Beatus de Liébana ». Médiévales 65, no 65 (1 décembre 2013) : 125–54. http://dx.doi.org/10.4000/medievales.7121.
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Veselov, Fedor. « The Thunder from the East : Batu’s Invasion in the European Medieval Book Miniatures ». Vostok. Afro-aziatskie obshchestva : istoriia i sovremennost, no 1 (2022) : 217. http://dx.doi.org/10.31857/s086919080016451-3.
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The article deals with the medieval book miniatures illustrating the invasion of Batu's armies in Europe in 1236–1242. Bearing in mind the postulated high symbolism of Medieval fine art, the author is interested in the figurative code of miniatures, in which the attitude of Europeans to the Mongol conquerors should be encoded. In this regard, a study of the related manuscripts, executed in different centuries, from the mid–13th to the mid–16th centuries, in the different lands of Western, Central Europe and Rus’. Somehow, despite the fact that, at first glance, these traditions are not genetically related to each other in any way, they demonstrate the same patterns of development.
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Deshman (†), Robert. « The Galba Psalter : pictures, texts and context in an early medieval prayerbook ». Anglo-Saxon England 26 (décembre 1997) : 109–38. http://dx.doi.org/10.1017/s0263675100002131.
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The ‘Galba Psalter’ (London, British Library, Cotton Galba A. xviii) is a pocket-sized (128 × 88 mm.), early-ninth-century Carolingian book, perhaps made in the region of Liège, that was originally decorated with only ornamental initials. By the early tenth century the manuscript had reached England, where an Anglo-Saxon scriptorium added two prefatory quires (1r–19v) containing a metrical calendar illuminated with zodiac signs, KL monograms and single figures (pls. IX–X), and five full-page pictures. Two miniatures of Christ and the saints on 2v and 21r (pls. X–XI) preface the calendar and a series of prayers respectively, and three New Testament pictures marked the customary threefold division of the Psalms. Facing Ps. I was a miniature of the Nativity (pl. XII), now detached from the manuscript and inserted into an unrelated book (Oxford, Bodleian Library, Rawlinson B. 484, 85r). The Ascension on 120v (pl. XIII) prefaces Ps. CI. A third picture before Ps. LI has been lost, but almost certainly it represented the Crucifixion. The placement of an image of this theme between the Nativity and the Ascension would have been appropriate from a narrative standpoint, and some later Anglo-Saxon and Irish psalters preface this psalm with a full-page picture of the Crucifixion. Obits for King Alfred (d. 899) and his consort Ealhswith (d. 902) provide a terminus post quem for the calendar and the coeval illumination. The Insular minuscule script of the calendar indicates a West Saxon origin during the first decade of the tenth century. On the grounds of the Psalter's style and later provenance, the additions were very likely made at Winchester.
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Shishka, E. A. « MONGOLS "IMAGINARY HERALDIC" IN FRENCH MEDIEVAL MINIATURES ». History : facts and symbols, no 3 (14 septembre 2021) : 119–29. http://dx.doi.org/10.24888/2410-4205-2021-28-3-119-129.
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The study of images is the path leading to an understanding of the value system of medieval man. If in the study of Christian ideas about the Mongols, historical and literary works were given some attention, then iconographic documents were often used only as illustrations to the text and were considered as something secondary. One of the poorly studied topics is the study of «imaginary heraldry», which was given to the Mongols by French miniaturists of the XIV-XV centuries. The research is based on the approach of the American art critic, M. A. Camillus, which involves the study not of what was «really», but of what was brought into the situation described by medieval scribes. The model of our analysis of the content of miniatures is based on the methodology of the German researcher Erwin Panofsky, according to which the analysis of miniatures takes place in three stages: 1) pre-iconographic description; 2) iconographic analysis; 3) iconological interpretation. Our research is based on French manuscripts containing images of the Mongols with various heraldic symbols, written evidence, numismatic and cartographic sources. During the work, it was noted that the Mongolian heraldry is presented in the format of shields and banners. Each element has its own color – red, orange, blue, yellow. The following heraldic signs were identified: a dragon, a six-pointed star, a crescent, a two-pronged tamga, a «king's head», lilies, a «star of David», various geometric shapes of figures, etc. It was also determined that the image of heraldic symbols on the miniatures carries a certain symbolism – social and ethnic. With the help of «imaginary heraldry», Christian miniaturists defined the place of the Mongols in the social stratigraphy or emphasized ethnicity.
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Kumar Tiwari, Pawanendra. « COLORS IN MEDIEVAL BOOK PICTURES AND MINIATURES ». International Journal of Research -GRANTHAALAYAH 2, no 3SE (31 décembre 2014) : 1–2. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3669.
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In medieval India, colors for drawing were obtained from a variety of substances such as minerals, compounds or natural salts. Some colors were derived from natural materials such as plant biomass. For example, neem and wormwood etc. were used in large scale not only in pictures but also in writing. Similarly, because of red ink written in silver and gold, Swanakshari Shetakshari was named. Red ink was used to draw margins at the end of the prominence, in the lines, in the instruments, etc. Books written with gold and silver powder were more expendable and they had more sense of grandeur. It was also relatively difficult to write the letters of silver and gold and in reading it there was a lot of emphasis on the eyes. Most of the mineral colors have been used in the West Indian painting style. These were finely powdered and brought into color. The natural state of the dyes was impure, so it was purified by dissolving it in water. Heavy impurities used to sit at the bottom and the top water was drained and separated. This process was repeated many times and color refinement was used to dry it and used it for illustration. This action was called color washing.
मध्यकालीन भारत में चित्रण के लिए रंग कई प्रकार के पदार्थो जैसे खनिजों योगिको अथवा प्राकृतिक लवणों से प्राप्त किये जाते थे। कुछ रंग प्राकृतिक वस्तुओं जैसे वनस्पति जैव पदार्थो से प्राप्त किये जाते थे। उदाहरण के लिए नीम तथा कृमिदाना आदि काजल का प्रयोग न केवल चित्रो में बल्कि लेखन कार्य में भी बडे पैमाने पर हुआ। इसी प्रकार लाल स्याही चाँँदी तथा सोने में लिखा होने के कारण स्वणाक्षरी शेत्याक्षरी नाम दिया गया । लाल स्याही का प्रयोग अहमायो के अन्त में हाशिये खीचने में वृन्तों रेखाओं यंत्रों आदि में हुआ। स्वर्ण रजत चूर्ण से लिखी जाने वाली पुस्तके अधिक व्यय-साध्य थी उनमें वैभव-प्रदर्शन की भावना अधिक होती थी। चाँदी तथा स्वर्ण के अक्षरों को लिखना भी अपेक्षाकृत कठिन होता था तथा उसको पढने में भी आखो पर अधिक जोर पडता था। पश्चिम भारतीय चित्र-शैली में अधिकतर खनिज रंगों का प्रयोग किया गया है। इन्हें बारीक चूर्ण के रूप में लाकर रंग बनाया जाता था। रंगो की प्राकृतिक अवस्था अशुद्ध होती थी अतः उसको पानी में घोलकर निथारकर शुद्ध किया जाता था। भारी अशुद्धियाँ नीचे बैठ जाती थी तथा ऊपर का पानी निथारकर पृथक् कर लिया जाता था। इस क्रिया को कई बार दोहराकर रंग का शोधन किया जाता था इसे सुखाकर चित्रण-कार्य में प्रयुक्त करते थे। इस क्रिया को रंग धोना कहते थे।
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Stürzebecher, Maria. « Jewish Wedding Rings with Miniature Architecture from Medieval Europe ». Arts 11, no 6 (19 décembre 2022) : 131. http://dx.doi.org/10.3390/arts11060131.
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Among the various types of medieval rings, Jewish wedding rings with miniature architecture have a special significance due to their special form, their importance in the Jewish wedding ceremony and their long tradition that extends from the Middle Ages into present day. This paper will examine their function in the wedding ceremony and their role as part of marriage as a legal transaction and the symbolism of their particular design.
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MARKOV, ALEXANDER. « ARMENIAN MINIATURE BY IGOR BURIKHIN : EKPHRASTIC PHONETIC SYNECDOCHE ». Культурный код, no 2021-3 (2021) : 40–49. http://dx.doi.org/10.36945/2658-3852-2021-3-40-49.
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In this work, for the first time, the poetic and artistic work of Igor Burikhin is defined as a system of interventions associated with a religious and philosophical understanding of the link between word and image. The purpose of the study is to prove the specifics of these interventions taking an ekphrasis as an argument. Igor Burikhin's poem, dedicated to the reproduction of a medieval Armenian miniature on a souvenir card, is not limited to thinking about a plot or a period, but is a part of the program for introducing a new metaphysical art from visual media to the logic of statements. The contextualization of this ekphrasis, related to the ideas of the renewed avant-garde and the new age devotion, makes it possible to explain the features of the project of this transgressive use of religiously contextualized image. I prove that the idea of reactualization of medieval art was equally poetic and pictorial, as an attempt to make another version of conceptual art, where Armenia and Jerusalem become loci that reconcile the imaginary and the real, and the artist's action was understood both as critical to traditional forms of devotion and as affirming a new spiritual experience. I introduce the term ekphrastic phonetic synecdoche as basic for understanding ekphrasis in religious and philosophical Russian samizdat poetry. This study clarifies the role of the religious and philosophical program in the formation of new directions of contemporary Russian art.
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Pietrini, Sandra. « The Parody of Musical Instruments in Medieval Iconography ». Revista de Poética Medieval 31 (14 décembre 2018) : 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.
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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harshly condemned by Christian writers. Strange instruments made out of everyday objects like grills and distaffs, or ‘exotic’ animals like peacocks, mingle in the grotesque underworld of marginal miniatures, in which the noble art of music is often replaced by the cacophonous noises suggested by the devil.
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Balius, Pol Serrahima. « Una demostración de poder : la caza en las miniaturas medievales ». Apunts. Medicina de l'Esport 43, no 160 (janvier 2008) : 199–204. http://dx.doi.org/10.1016/s1886-6581(08)70100-2.
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MEUWESE, Martine. « Representations of Jerusalem on Medieval Maps and Miniatures ». Eastern Christian Art 2 (1 décembre 2005) : 139–48. http://dx.doi.org/10.2143/eca.2.0.2004556.
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Petrushko, Liudmyla. « Unhappy Emotions in the Miniatures and the Text of the Radzyvill Chronicle ». Text and Image : Essential Problems in Art History, no 2 (2022) : 52–61. http://dx.doi.org/10.17721/2519-4801.2022.2.06.
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The article examines the miniatures of the Radzyvill Chronicle. It attempts to discriminate between real and fictional emotions of a person from the Middle Ages and focuses on the expressions of sorrow and crying. In historical studies of emotions, images are crucial. They record both real manifestations of emotions and ideas about their importance, expediency, essence. The article relies upon iconographic method, as well as upon semiotics, historical-comparative and content analysis. We assume that sad emotions have more expressiveness in the visual manifestations. Reading facial expressions in miniatures or painting can be challenging. Thus, we rely on interpreting a hand near the cheek or the hem of a garment pressed to the face or sleeves that are down as a universally recognized gesture of sadness. This paper offers a first insight into the miniatures of the Radzivil Chronicle, which depict sadness and crying. It examines emotions through narrative and visual strategies of the Chronicle and reveals how it fits within the tradition of showing tears and sadness in medieval society. After studying the Chronicle, we can conclude that it did not deal with emotions extensively. Only 25 of the 613 miniatures of the Königsberg list (which is 4% of all images) convey unhappy emotions. The miniatures from the Radzyvill chronicle confirm the three main states where sadness and weeping corresponded with the decorum of medieval Rus: the death of loved ones, common misfortunes or public troubles like captivity and separation-farewell. Therefore, the emotions depicted in the Chronicle were historically conditioned. Sadness was conveyed in illuminations that dealt with the departure from this world and burials of princes and clerics, the military conflicts, which affected people’s lives. Sometimes the emotions were not mentioned in the accompanying text, but only conveyed through the visual means, which reveals medieval behavioral models and ideas about crying as a natural emotional reaction to the death and burial of the loved ones and to the misfortunes associated with captivity. The absence of illustrations of sadness and tears in the Pechersk cycle of miniatures is generally consistent with the tradition of illustrating texts where attention was paid to actions and not to emotions. This fact, too, may indicate the understanding of tears of repentance and prayer as an internal state that is not conveyed through external means.
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Smagar, Maria. « Visible Past : Urban Space in Flemish Book of Hours of Isabella the Catholic ». ISTORIYA 12, no 9 (107) (2021) : 0. http://dx.doi.org/10.18254/s207987840017067-2.
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In this article, images of urban space in the Flemish illuminated books of hours of the 15th century are discussed. The main source is the miniatures of lavishly illuminated Flemish Book of Hours of Isabella the Catholic (The Cleveland Museum of Art, Ohio, the United States). With two special tables author highlights, typologizes, and analyzes the major markers of medieval and renaissance urban space (such as stone bridges, city walls, cathedrals, multi-story houses, etc.) as well as the social structure of miniatures, representing urbanscapes in Flemish Book of Hours of Isabella the Catholic.
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Пивень, Марина Георгиевна. « Interpretations of the Old Testament Plot "David’s Victory over the Goliath" in Italian Decorative Painting of XVth Century ». Вестник церковного искусства и археологии, no 1(2) (15 juin 2020) : 9–23. http://dx.doi.org/10.31802/2658-5111-2020-1-2-9-23.
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Статья посвящена рассмотрению трактовки ветхозаветного сюжета победы Давида над Голиафом (Первая книга Царств) в живописных произведениях художников Италии XV в. Автор сосредоточивает внимание на декоративных композициях повествовательного характера, выполненных Пезеллино, Джованни ди Сер Джованни (по прозвищу Скеджа) и Андреа дель Кастаньо. Живописные образы рассмотрены в контексте культурных тенденций и идеалов эпохи Возрождения, а также в контексте параллельно развивающейся изобразительной традиции представления библейского героя в статуарной пластике. В статье уделено внимание источникам иконографии декоративных росписей - средневековой книжной миниатюре, произведениям декоративно-прикладного искусства Византии, а также текстовым источникам, обусловившим смысловое прочтение образа, в частности Псалтири. В декоративных росписях мастера предпринимают попытки адаптировать сложившиеся в миниатюре иконографические типы к формату многофигурной картины. The essay deals to the interpretations of Old Testament plot “the young David’s victory over Goliath” (First Book of Kingdoms) in Italian domestic paintings of XVth century. The author focuses on narratives compositions, made by Pezellino, Giovanni di Ser Giovanni (Scheggia) and Andrea del Castaño. The pictorial images are considered in the context of cultural tendencies and ideals of the Renaissance, as well as in the context of a parallel developing tradition of representing the biblical hero in the statuary plastic. The article pays attention to the sources of iconography in decorative paintings - medieval book miniatures, works of decorative art of Byzantium, as well as textual sources, that determined semantic reading of the image (in particular, the Psalter). In decorative paintings the iconographic types, established in miniature, were adapted to the format of a larger multi-figure painting.
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Flórez, Cristina. « La representación de la naturaleza a fines de la Edad Media ». Illapa Mana Tukukuq, no 5 (27 octobre 2017) : 27–36. http://dx.doi.org/10.31381/illapa.v0i5.1087.
Texte intégralRésumé :
Uno de los aspectos más apreciados y conocidos del mundo medieval es el relacionado con las artes decorativas, es decir, tapices, miniaturas, vitrales y esmaltes. Todas estas representaciones son de una riqueza y originalidad increibles y los análisis de especialistas son cada vez más numerosos. Sin embargo, hemos considerado que una breve introducción a la Europa Occidental de los siglos XIV y XV es fundamental para el mejor conocimiento y comprensión de nuestro tema.
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Paoli, Marco. « Digitalizzazione e ricerca umanistica ». DigItalia 15, no 1 (juin 2020) : 13–25. http://dx.doi.org/10.36181/digitalia-00001.
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L’articolo si propone di verificare sinteticamente il rapporto tra il recente sviluppo delle biblioteche digitali e la ricerca umanistica, valorizzando il punto di vista dell’utente finale, lo studioso. È stata presa ad esempio una ricerca nell’ambito della storia della miniatura. Essa può oggi giovarsi di numerosi database dedicati alle collezioni digitali di manoscritti miniati medievali, e servirsi di avanzate funzioni di ricerca iconografica. La digitalizzazione ha permesso di superare la fase in cui l’alternativa alla consultazione diretta del manoscritto di pregio era il microfilm. La qualità delle immagini digitali permette spesso uno studio più agevole ed efficace di quello offerto dalla visione diretta dell’originale.
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SILVA, FÁGNA. « PROTEÇÃO INTEGRAL DA CRIANÇA ». Revista Territórios 03, no 08 (31 août 2021) : 206–11. http://dx.doi.org/10.53782/278.
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No presente artigo procuramos explicar sobre a evolução do conceito de criança. Analisando as transformações com foco nos períodos medieval e moderno, perceberemos que ser criança não é um ser em miniatura em que adultos possam preencher páginas em branco com seus valores e concepções de mundo. A ideia de que as crianças sejam objetos de intervenção do mundo adulto desde já deve ser ultrapassada. Pretendemos então demonstrar a criança como sujeito que em sua imaturidade, deve ser protegida e amparada por sua família, a sociedade e o Estado que deverão sempre a ela garantir seus direitos, reconhecimento e valorização da infância por parte das políticas públicas.
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Halpern, Richard. « Bassanio’s bailout : A brief history of risk, Shakespeare to Wall Street ». Sederi, no 24 (2014) : 27–45. http://dx.doi.org/10.34136/sederi.2014.2.
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Shakespeare’s most searching anatomy of risk, The Merchant of Venice depicts the wagering not only of money but of love and life itself. This paper places Merchant in a long history that traces the concept of risk from classical theatre to medieval scholasticism to modern sociology. Over the course of this history, the moral and economic dimensions of risk become increasingly fugitive and unmappable. Shakespeare’s play illustrates this process in miniature, and in so doing casts light on our contemporary “risk society,” including the financial meltdown of 2008.
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Starodub, Tatiana Kh. « The Image of the Madrasah in Illustrations of Medieval Arabic Manuscripts ». Vestnik of Saint Petersburg University. Arts 11, no 2 (2021) : 243–62. http://dx.doi.org/10.21638/spbu15.2021.205.
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The article considers the visual image of the Madrasah in miniatures of Arabic manuscripts of the 13th century as both scientific and theological treatises, and literary works. Illustrated Arabic manuscripts are relatively rare, but they exist, and constitute one of the most fascinating, but little-studied pages in the history of the spiritual and artistic culture of the Arab Middle Ages. Amongst the hard-to-solve riddles there are some colorful pictures in the frontispiece design or in the text of a manuscript, which can raise the question: what is depicted here? The inscriptions on the margins of a page or inside the miniatures, added as explanations by the later owners, do not always provide the correct answer, since from one era to another the concepts and representations change significantly. In the life of Medieval Muslim society, the Arabic word “madrasah” could mean both a general education school and a theological university, where scientists study the works of their predecessors, conduct scientific research, make new discoveries, and defend their theories. In all cases, madrasahs remain religious institutions and buildings, second in importance after the Mosque. However, unlike a Mosque, with a niche of a mihrab or a ladder of a minbar, the image of a Madrasah is difficult to distinguish from buildings such as a dwelling house, a caravanserai, a Sufi abode or a courtroom. In miniatures of medieval Arabic manuscripts, the image of a Madrasah can also arise by association with portrayals of sages and their listeners, scientists and their students, authors who write their works, or scribes who rewrite them. The architectural image of the Madrasah can be created both by a detailed illustration of its interior, and by the conditional “architectural” decoration of a scene of a lesson at school or meeting of scientists.
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Boyer, Marjorie Nice. « The Humble Profile of the Regal Chariot in Medieval Miniatures ». Gesta 29, no 1 (janvier 1990) : 25–30. http://dx.doi.org/10.2307/767097.
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Lavanya, Bennabhaktula. « Medieval Indian Miniature Paintings : An Overview of the Latest Writings and Trends ». Social Sciences 11, no 3 (2022) : 188. http://dx.doi.org/10.11648/j.ss.20221103.18.
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Kudinova, Maria. « “Persian” and “Roman” Dogs in Medieval China ». Stratum plus. Archaeology and Cultural Anthropology, no 5 (29 octobre 2021) : 187–94. http://dx.doi.org/10.55086/sp215187194.
Texte intégralRésumé :
Historical and literary works and archaeological materials (such as pottery figurines, tomb murals and reliefs, paintings etc.) recorded the spread of foreign dog breeds in the territory of China since the period of the Northern dynasties and their highest popularity among Chinese upper class during Tang epoch. At the present time there is information about two breeds — “Persian” dogs and “Roman” dogs. “Persian” dogs (Bosi gou, Bosi quan) were the hunting dogs with a thin elongated body, long legs, short-haired, probably, related to Saluki. “Roman” dogs (Fulin gou, Fulin quan) were miniature dogs with short body and legs, long-haired, black and white spotted, probably, originated from Maltese dogs. They performed a decorative function and served as companions of women and children. Apparently, originally both “Persian” and “Roman” dogs were imported into China along the Silk Road via Sogdian city-states of Central Asia and the states of Western Regions (Xiyu). Later, the breeding of these dogs started in China in order to meet the demand for the prestigious home pets among the Chinese elite.
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Lee, Jennifer. « Portable Prototypes : Canterbury Badges and the Thomasaltar in Hamburg ». Arts 10, no 3 (27 juillet 2021) : 51. http://dx.doi.org/10.3390/arts10030051.
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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.
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Fradejas Rueda, José Manuel. « Iluminar la caza en la Edad Media : aproximación a la iconografía venatoria medieval iberorrománica ». Revista de Poética Medieval 30 (5 décembre 2016) : 105–30. http://dx.doi.org/10.37536/rpm.2016.30.0.49694.
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Desde el arte rupestre la caza ha sido uno de los temas predilectos. Durante la Edad Media surgen los libros de caza, aunque tienen un tenue antecedente en la antigüedad greco-latina, una literatura técnica y práctica que en su momento de apogeo desarrolla un interesante esquema iluminador. Aunque la península Ibérica que presenta una literatura venatoria muy característica llena de notas personales y aspectos exclusivos como la geografía de la caza, sin embargo es paupérrima a la hora de ilustrar los textos puesto que básicamente es una literatura técnica que se limita a presentar los instrumentos necesarios, no obstante hay algunos ejemplos muy interesantes, aunque las mejores imágenes de la caza no ilustran los libros técnicos sino otro tipos literarios. Tras una visión de la historia de la representación de la caza y de los libros de caza ilustrados, se analizan las miniaturas del Libro de la montería y se establece cuál es el significado y función de cada una de ellas. Posteriormente se estudian los instrumentos médico-quirúrgicos mostrados en los libros de cetrería, especialmente en la serie iniciada por el Livro da falcoaria de Pero Menino y difundida por el Libro de la caza de las aves de López de Ayala. Se cierra con un análisis de las miniaturas venatorias de las Cantigas de Santa María.
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Consiglieri, Nadia Mariana. « Apelativos, silencios y olvidos en torno a los animales de los Beatos en la temprana historiografía artística del siglo XIX y de inicios del siglo XX ». História da Historiografia : International Journal of Theory and History of Historiography 15, no 38 (27 avril 2022) : 137–66. http://dx.doi.org/10.15848/hh.v15i38.1819.
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Los animales fueron representados con creces en los Beatos, tanto en las miniaturas principales como en iniciales y marginalia. Sin embargo, los tempranos escritos, registros y catálogos que dan cuenta de la serie codicológica guardan importantes silencios al respecto. El coleccionismo, las exhibiciones y la necesidad de registrar y catalogar piezas del pasado medieval hispánico comenzaron no obstante a integrar determinadas menciones y juicios de valor disímiles. Este trabajo aborda y discute tanto las omisiones como los primeros intentos por comenzar a reconocer la fauna en los Beatos concentrándose en los discursos historiográficos artísticos del siglo XIX y de inicios del siglo XX.
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Salikhov, Omonilla. « INTERPRETATION OF HISTORICAL AND CULTURAL HERITAGE IN THE WORKS OF CHINGIZ AKHMAROV ». CURRENT RESEARCH JOURNAL OF HISTORY 02, no 08 (31 août 2021) : 19–21. http://dx.doi.org/10.37547/history-crjh-02-08-04.
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This article discusses the interpretation of historical and cultural heritage in the works of Chingiz Akhmarov. In the genre of portraiture, folk art is approached with high skill, revealing the characteristic features of its national bright patterns. The perfect study of the human image in his portraits achieves a full disclosure of the psyche of the aesthetic, spiritual world of the heroes of the work. Without repeating the miniature, he takes a unique artistic approach, based on the poetic plastic conditionality, artistic space and form, the decorative principle of composition, as well as the rich thinking color of medieval masters, linear graphics.
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Grigoryan Savary, Gohar. « Medieval contexts and modern realities of a Genocide-survivor artwork ». Journal of the Society for Armenian Studies 27, no 1 (25 août 2020) : 117–30. http://dx.doi.org/10.1163/26670038-12342704.
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Abstract This article is a critical review of Heghnar Watenpaugh’s monograph The Missing Pages, which traces the history of the thirteenth-century Zeytun Gospels from its creation to the 2010s, when several of the manuscript’s illustrated folios became subject to a restitution claim through a lawsuit filed by the Armenian Church against the Getty Museum. It highlights the importance of Watenpaugh’s publication on assembling and clarifying the impressive itinerary of the Zeytun Gospels, the manuscript’s sociocultural functions, as well as the historiographic research on Cilician miniature painting conducted by the author in the framework of this book. In the present article, several issues raised in the book are critically explored from different angles, expressing a partial or significant difference of opinion when it comes to some of the interpretations and contextualizations proposed by Watenpaugh. These include: Watenpaugh’s nonexhaustive consideration of the Zeytun Gospels’ colophons, which stand as the most authentic documentations on the manuscript’s history prior to the twentieth century; her tracing of parallel examples of artifacts that survived the Genocide based not on scholarly research but on popular narratives (and on contemporary literary writings); the discussion of bilingual coins minted by the Armenian king Hetum I and the Seljuk sultan Kaykhusraw II as cases of “complex identities of the period”, without delving into these complexities, and, thus, not doing justice to the nuances of the medieval context of their rule; some aspects of the history of scholarship on Cilician miniature painting; and the way Watenpaugh presents two of the most prominent historians of Armenian art, Sirarpie Der Nersessian and Karekin Hovsepian, and their attitudes toward the ownership and acquisition of Armenian cultural heritage by western art institutions, which appear to be less than balanced in The Missing Pages. Finally, some reflections on contemporary exhibition practices of survivor artifacts, whose current locations of preservation are often a consequence of (cultural) genocide and dubious acquisition practices, require clearer and more in-depth presentation, at least as far as the exhibition history of the Zeytun Gospels and its separated folios is concerned.
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Kolesnikov, Aliy I. « To Semantics of an Astral Metaphor in the Persian Medieval Texts ». Письменные памятники Востока 18, no 3 (28 décembre 2021) : 74–86. http://dx.doi.org/10.17816/wmo77358.
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The paper deals with attribution on the meaning of an astral metaphor in Persian text related to the miniature, which occurs in the Album murakka (17th cent.) from the Carl Faberge fund, now in the collection of the Institute of Oriental Manuscripts, RAS. While analyzing on characteristics of planet Saturn (Kewan) in Zoroastrian Pahlavi compositions and variations of astral metaphor in Iranian national epos Shah-name, the author comes to conclusion, that calligraph Jafar used a name Keywan in his distich for pursuit of two tasks: 1) to condemn imitation of Keywans abode on top of heads (see ill. 1); 2) to convey his belief that only God is veritable creator of Keywan as all the Universe.
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Иванова, С. В. « Angelic Trumpets in Medieval Christian Art ». OPERA MUSICOLOGICA, no 2022 (12 septembre 2022) : 46–63. http://dx.doi.org/10.26156/om.2022.14.3.003.
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В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозаветных пророков и имеют огромное значение в библейской культуре. В христианском искусстве Западной Европы и Византии с XI столетия появляются произведения — фрески, барельефы, мозаики, иконы, миниатюры, — в которых шофары изображаются весьма правдоподобно. После XV века в западноевропейском искусстве значение шофара перестает осознаваться, вместо них начинают изображаться просто медные трубы, с характерным широким раструбом и бликами на металле. Понимание значения шофара объясняет роль духовых инструментов в иконографии христианских сюжетов, а также появление в искусстве эпохи Возрождения образов музицирующих ангелов. The article investigates a special music instrument of angels. This image is first reflected in the Christian art of the XI–XV centuries and is depicted as a Biblical instrument called a shofar, a pipe made from a ram’s horn. The pipe has a distinctive shape, slightly curved; with a small bell-mouth. The instrument varies in size and can be decorated with carvings or incrustations. Shofar is an instrument that was used only for ritual purposes and, being of great importance in the Biblical culture, is described in the visions of the Old Testament prophets. Besides the End of Time, shofar is also symbolically connected with the beginning of the Jubilee year, the holy time, proclaimed by the sounds of shofar. In Christian Art of Western Europe, beginning from XI century, one can see frescoes, mosaic, icons, miniatures, bas-relieves that depict shofar quite credibly. In the miniatures of the Western European manuscripts, one can often see two angels positioned differently: one blowing his horn over the condemned sinners, while the other — over the resurrecting righteous men. It would be right to state that the popularity of shofar in the Western European art fades away after XV century, it being replaced by simple copper pipes with wide openings and metallic glitter. Understanding of the symbolical meaning of the shofar, however, sheds some light onto the significance of these instruments in the scenes of the end of the world.
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PEDRONI, FABIANA. « Sobre a Ornamentalidade Medieval : estudo do Fólio 112v do Beatus de Facundus * Sur L’Ornementalité Médiéval : étude du Folio 112v du Beatus de Facundus ». História e Cultura 2, no 3 (4 février 2014) : 394. http://dx.doi.org/10.18223/hiscult.v2i3.1113.
Texte intégralRésumé :
<p><strong>Resumo</strong>: O domínio da perspectiva morfológica tornou-se para a historiografia da arte um legado difícil de ser superado, em especial nos estudos de elementos que são <em>a priori</em> da ordem formal, como a ornamentação. Os modelos totalizantes característicos até metade do século XX encontravam na forma o delineamento de uma genealogia dos padrões ornamentais. No entanto, a partir principalmente da década de 1980, as teorias da ornamentação surgiram sob novas perspectivas. Além do estudo estilístico-filológico, que buscava datações e as filiações dos motivos, a ornamentação passou também a ser pensada quanto a seus possíveis modos de funcionamento. Sob o aporte da pesquisa de Jean-Claude Bonne, busca-se aqui estudar algumas das funções assumidas pela ornamentação na miniatura do fólio 112v do <em>Beatus </em>de Facundus, manuscrito real de 1047 que dispõe de um rico tratamento ornamental.</p><p><strong>Palavras-chave</strong>: Teorias da ornamentação – Ornamentalidade – <em>Beatus </em>de Facundus.</p><p> </p><p><strong>Resumé</strong>: Le domaine du point de vue morphologique est devenu à l'historiographie de l'art un héritage difficile à surmonter, en particulier dans l'étude des éléments qui sont a priori de l'ordre formel, comme l'ornementation. Des modèles totalisant caractéristiques de la moitié du XXe siècle ont trouvé sous la forme la conception d'une généalogie des motifs ornementaux. Toutefois, principalement à partir des années 1980, les théories de l'ornementation sont venus de nouvelles perspectives. En plus de les études stylistique et philologique, que cherche datation et affiliations des motifs, l'ornementation a été également pensé à leurs modes de fonctionnement possibles. En vertu de la contribution de la recherche de Jean-Claude Bonne, on analyse certaines fonctions assumées par l'ornementation sur la miniature du folio 112V du <em>Beatus </em>de Facundus, un manuscrit réelle de 1047 qui a un riche traitement ornemental.</p><p><strong>Mots-clés</strong>: Théories de l'ornementation – Ornamentalidade – <em>Beatus</em> de Facundus.</p>
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Zhabreva, Anna. « Furs, Feathers and Flowers in European Medieval Costume : Based on Materials from Manuscript Miniatures ». Stratum plus. Archaeology and Cultural Anthropology, no 5 (29 octobre 2021) : 195–205. http://dx.doi.org/10.55086/sp215195205.
Texte intégralRésumé :
Miniatures of medieval European manuscripts are considered a valuable pictorial source on the 13th—15th centuries costume history. The particular question of the application of such natural materials as furs, feathers and flowers in a costume is investigated in this article. The author selected and analyzed fragments of miniatures giving an idea of which furs and feathers, how and in what quantities were used by representatives of different classes. A significant number of images of clothes and hats trimmed with fur were revealed, much less — on the use of feathers, and very few and extremely conventional — of flowers. This information is compared with documentary evidence and fragments from the Middle Ages literary works. The author comes to the conclusion that a great number of surviving manuscripts, many of which are currently available in digitized form, make it possible to collect a representative array of images that provide answers to the most frequent questions about the evolution of European costume in the Middle Ages.
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Chernetsov, A. « Fatal woman of the 10th century through the eyes of medieval miniature painters ». Российская археология, no 3 (décembre 2018) : 117–22. http://dx.doi.org/10.31857/s086960630001647-0.
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Колпакова, Ю. В. « Christian Objects from the 2 and 3 Mstislavsky Excavation Archaeological Collection of 2017 ». Археология и история Пскова и Псковской земли, no 35(65) (9 novembre 2021) : 92–102. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-347-3.92-102.
Texte intégralRésumé :
В статье дается обзор новых находок предметов христианского культа по итогам сезона 2017 г. из Мстиславских раскопов в Пскове. В контексте аналогичных находок с территории Руси рассматриваются домонгольские энколпионы и их фрагменты, нательные кресты XIV-XV вв., позднесредневековые нательные кресты с изображением Голгофы и с надписями, наперсные кресты и миниатюрные образки. The paper provides an overview of new finds of Christian objects from the Mstislavsky excavations in Pskov for the 2017 season. Pre-Mongolian reliquary-crosses and their fragments, 14 - 15 c. pectoral crosses, late medieval pectoral crosses with the Calvary image and inscriptions, pectoral crosses and miniature icons are considered in the context of similar finds from Russian territory.
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Antunes Junior, Guilherme. « “Por que me fust' enganar, Santa María, pois en ti fïava” ? : ». Revista História : Debates e Tendências 21, no 2 (5 mai 2021) : 87–102. http://dx.doi.org/10.5335/hdtv.21n.2.12257.
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O presente trabalho analisa o relato medieval da dama que foi obrigada por seus pais a se casar com um homem de posses. Tendo prometido seu corpo à Virgem Maria, a dama resistiu ao ato sexual com o marido, sendo violentamente ferida na vagina. Essa história aparece em diferentes fontes histórias, porém, analisarei a cantiga 105 das Cantigas de Santa Maria, atribuídas ao seu patrocinador, Alfonso X. Meu interesse é fazer uma leitura comparativa, com recorte de gênero, entre o texto poético e as miniaturas do códice historiado, ou Códice Rico, T-I-1 (E2), elaborado no século XIII, travando discussões também sobre casamento e corpo.
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Mann, Vivian B. « Observations on the Biblical Miniatures in Spanish Haggadot ». IMAGES 4, no 1 (2010) : 1–17. http://dx.doi.org/10.1163/187180010x547602.
Texte intégralRésumé :
AbstractThis essay discusses the last two centuries of medieval Spanish art, and demonstrates that cooperative relations existed between Christians and Jews who worked either independently or together to create art both for the Church and the Jewish community. Artists of different faiths worked together in ateliers such as that headed by Ferrer Bassa (d. 1348), producing both retablos (altarpieces) as well as Latin and Hebrew manuscripts.The work of such mixed ateliers is of great significance when considering the genesis ca. 1300 of illuminated haggadot with prefatory biblical cycles and genre scenes that were produced in Spain until ca. 1360. These service books for Passover have always been viewed as a unique phenomenon within the Jewish art of Spain, their origins inexplicable. When the biblical scenes, however, are viewed in the context of contemporaneous Spanish art for the Church, their sources become more transparent.
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Doménech García, Sergi. « Lamentos al son del arpa. La imagen del rey David penitente en la pintura valenciana del Barroco ». Boletín de Arte, no 36 (30 octobre 2015) : 73–83. http://dx.doi.org/10.24310/bolarte.2015.v0i36.3316.
Texte intégralRésumé :
Este artículo parte de dos lienzos de Pablo Pontons y Vicente Guilló para el estudio de la imagen del rey David, especialmente en su tipo iconográfico de David penitente. Formulado originalmente en las miniaturas medievales que se apoyaban en su papel de salmista y fundador de la música sacra, esta tipología tomó episodios de su vida que se convirtieron en modelos de penitencia. El trabajo estudia la tradición cultural convencionalizada de la gura de David, su patronazgo musical y la continuidad del tipo del rey penitente en el Barroco, tanto en grabados como en programas visuales como los de Pontons y Guilló para Morella y Alcalà de Xivert, respectivamente. Este uso didáctico permite relacionar las manifestaciones visuales con la literatura sacra.