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Статті в журналах з теми "Romanesque ages":
1
Calvo Díaz, Andrea Auxiliadora. "La arquitectura medieval y el pensamiento de Nicolás de Cusa." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 87–106. http://dx.doi.org/10.25145/j.histarte.2022.03.05.
Анотація:
This article aims to analyze the architectural transition from romanesque to gothic through the passage from the abbey to the cathedral. To proceed with the analysis, the thought of Nicholas of Cusa is taken into consideration in relation to the notion of number and geometry. It is important to clarify that the following work corresponds to an interdisciplinary study, for which it takes up the architecture of the romanesque and gothic in correspondence with the philosophical position of cusanus. This research is not a study of historical coincidence, but an analogical (comparative) study between the convergences of the artistic productions of the Middle Ages and the thought of the cardinal of Bresanona. For correlation purposes, the idea of the finite is analogous with the romanesque abbey and the concept of infinity with the gothic cathedral
2
Calvo Díaz, Andrea Auxiliadora. "La arquitectura medieval y el pensamiento de Nicolás de Cusa." ACCADERE. Revista de Historia del Arte, no. 3 (2022): 87–106. http://dx.doi.org/10.25145/j.histarte.2022.03.05.
Анотація:
This article aims to analyze the architectural transition from romanesque to gothic through the passage from the abbey to the cathedral. To proceed with the analysis, the thought of Nicholas of Cusa is taken into consideration in relation to the notion of number and geometry. It is important to clarify that the following work corresponds to an interdisciplinary study, for which it takes up the architecture of the romanesque and gothic in correspondence with the philosophical position of cusanus. This research is not a study of historical coincidence, but an analogical (comparative) study between the convergences of the artistic productions of the Middle Ages and the thought of the cardinal of Bresanona. For correlation purposes, the idea of the finite is analogous with the romanesque abbey and the concept of infinity with the gothic cathedral
3
Štivičić, Štefan. "Ivan Josipović, Pridraga u zaleđu Zadra." Miscellanea Hadriatica et Mediterranea 6, no. 1 (January 20, 2020): 249–54. http://dx.doi.org/10.15291/misc.2918.
Анотація:
The book Pridraga in the hinterland of Zadar was written by the art historian and university professor from the Department of Art History of the University of Zadar Ivan Josipović. The research enterprise published in this book is the result of a lengthy study of early Christian and pre-Romanesque reliefs found at the archaeological sites in Pridraga near Zadar. Comprehensive and detailed presentation of all early Christian and pre-Romanesque reliefs found in the Pridraga region until the year 2018 reflects importance of this book as a unique and systematic research project. Since Josipović earned his doctoral degree with the theme of pre-Romanesque reliefs,1 research work and analysis of reliefs from Pridraga were a part of his knowledge of the early medieval Croatian art. Pridraga in the hinterland of Zadar is a contribution not only to the art history but also to the history of the Early Middle Ages.
4
Michniewicz, Jacek, Danuta Nawrocka, Anna Pazdur, and Marta Żurakowska. "Issue of Actual Chronology of a Romanesque Chapel at the Wlen Castle (Lower Silesia, Poland) in the Light of Mortar Radiocarbon Dating." Geochronometria 26, no. -1 (January 1, 2007): 31–33. http://dx.doi.org/10.2478/v10003-007-0010-5.
Анотація:
Issue of Actual Chronology of a Romanesque Chapel at the Wlen Castle (Lower Silesia, Poland) in the Light of Mortar Radiocarbon DatingThe presented work discusses results of radiocarbon dating of lime mortars sampled from walls of a Romanesque chapel at the Wleń castle. Considering a homogeneous structure of the mortars, an attempt to determine the chronology was made. Radiocarbon dating was carried out both on carbonate binders and laboratory-selected charcoals from the mortars. According to obtained data, charcoal ages are older than the age of the binders. Assuming the 12thcentury chronology of the chapel's erection to be correct, it was found that the applied method did not provide the result which is consistent with archaeological estimations.
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Viñuales Gavn, Ederlinda. "Astronomy in romanic churches." Proceedings of the International Astronomical Union 15, S367 (December 2019): 471–73. http://dx.doi.org/10.1017/s1743921321000363.
Анотація:
AbstractIn this poster we present a study of the orientation of the church of San Adrián de Sasabé in Borau, Huesca (Spain) in a practical way. This church is a characteristic Romanesque construction, predominant in the High Middle Ages, mainly in southwestern Europe.The apse of Romanesque churches are oriented towards the east. But, in some churches, the apse has three windows and these are oriented in the direction of the sunrises on the days of the solstices and equinoxes. But sunrises and sunsets depend on the latitude of the place.The church of San Adrián de Sasabé, the object of our study, has three windows in the apse, which allows us to carry out the necessary calculations to determine its orientation with precision outside the church.
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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.
Анотація:
Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic
7
K. Németh, András, and Melinda Takács. "A középkori Lápafő és temploma." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 2 (2013): 61–82. http://dx.doi.org/10.26080/krrmkozl.2013.2.61.
Анотація:
the church of lápafő can be found on the western border of tolna county. it was first mentioned in a medieval document in 1430. the building was excavated in the calvinist cemetery of present-day lápafő in 2012. in the first, romanesque period a church with a semicircular apse was built from stones, bricks and rammed clay layers. in the late middle Ages an annex was added to the church. the full length of the building was about 18,8 meters.
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Classen, Albrecht. "The Intolerant Middle Ages: A Reader, ed. Eugene Smelyansky. Readings in Medieval Civilization and Cultures, XXIII. Toronto, Buffalo, and London: University of Toronto Press, 2020, xviii, 280 pp., 12 b/w ill." Mediaevistik 34, no. 1 (January 1, 2021): 324–27. http://dx.doi.org/10.3726/med.2021.01.43.
Анотація:
One of the most fascinating questions in all cultural-historical investigations might be how to evaluate a certain period from our modern perspectives. In the past, we have often heard of the ‘dark ages’ as a term for the early, but even for the high Middle Ages, a notion which has been so thoroughly debunked by now that we do not need to go into any further details here. Yet, already the Renaissance thinkers and poets were most eager to put down the previous period and used the epithet of ‘Gothic’ for the older art and architecture, and denigrated medieval literature at large, while we today accept the term as fitting and even ‘positive’ certainly adequate for that entire post-Romanesque art.
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Sulkowska-Tuszyńska, Krystyna. "KILKA UWAG O KOLORYSTYCE BAZYLIKI NORBERTANEK W STRZELNIE W XIII-XIV WIEKU." Slavia Antiqua. Rocznik poświęcony starożytnościom słowiańskim, no. 62 (November 8, 2021): 347–74. http://dx.doi.org/10.14746/sa.2021.62.15.
Анотація:
The article sums up the reflections on the relics of medieval plaster and layers of paint on the walls, columns and pillars of the Norbertine nuns convent in Strzelno completed around the 2nd-3rd quarter of the 13th century. The relics of the polychromies observed by numerous enthusiasts of the Romanesque Strzelno and discovered during archaeological excavations were topped with the results of conservation-restoration works which uncovered the first figural polychromies in the chancel’s apse. Following verification of the dating of the colours of the church’s interior, an indication was made that in the 13th century, the colour red prevailed; in the 15th-16th centuries, the figural scenes of the apse sported many colours while the remaining part of the sacrum was brightened up with three-colour, geometric patterns. To complete the range of colours, floor tiles were added. Examples have been provided of specialist painting analyses. The entire arrangement has been compared with selected colourful medieval structures. References have been made to the symbolism of the colours used in the Middle Ages and thecontemporary, erroneous perception of Romanesque architecture as rustic, devoid of plaster and colours.
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Moss, Rachel. "Appropriating the Past: Romanesque Spolia in Seventeenth-Century Ireland." Architectural History 51 (2008): 63–86. http://dx.doi.org/10.1017/s0066622x00003026.
Анотація:
Although a relatively young subject, the historiography of Irish architecture has had a remarkably significant impact on the manner in which particular styles have been interpreted and valued. Since the genesis of the topic in the mid-eighteenth century, specific styles of architecture have been inextricably connected with the political history of the country, and each has been associated with the political and religious affiliations of its patrons. From the mid-nineteenth century, the focus on identifying an Irish ‘national’ architecture became particularly strong, with Early Christian and Romanesque architecture firmly believed to imbue ‘the spirit of native genius’, while Gothic, viewed as the introduction of the Anglo-Norman invader, was seen as marking the end of ‘Irish’ art. Inevitably, with such a strong motivation behind them, early texts were keen to find structures that were untouched by the hand of the colonizer as exemplars of the ‘national architecture’. Scholars, including the pioneering George Petrie (1790–1866) in works such as his 1845 study of the round towers of Ireland, believed that through historical research he and others were the first to understand the ‘true value’ of these buildings and that any former interest in them had been purely in their destruction, rather than in their restoration or reconstruction. It was believed that such examples of early medieval architecture and sculpture as had survived had done so despite, rather than because of, the efforts of former ages, and, although often in ruins, the remains could be interpreted purely in terms of the date of their original, medieval, creation.Informed by such studies, from the mid-nineteenth century a movement grew to preserve and consolidate a number of threatened Romanesque buildings with the guiding philosophy of preserving the monuments as close to their original ‘pre-colonial’ form as possible. Consolidation of the ruins of the Nuns’ Church at Clonmacnoise (Co. Offaly) is traditionally amongst the earliest and most celebrated of these endeavours, undertaken by the Kilkenny and Southeast Ireland Archaeological Society in the 1860s, setting a precedent for both the type of monument and method of preservation that was to become the focus of activity from the 1870s, and thus for the first State initiatives in architectural conservation.
Дисертації з теми "Romanesque ages":
1
Theophilopoulou, Calliope-Catherine. "Figures du héros antique dans le roman médiéval : didactisme et œuvre romanesque." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO29999.
Анотація:
Les mythes comme aussi les personnages qui les peuplent, les héros, ont exercé au fil du temps, un charme sur les sociétés. Les hommes du Moyen Age, à leur tour, se tournaient vers eux chaque fois qu’ils éprouvaient le besoin. D’abord, personne ne peut contredire ou rejeter ces récits. Il s’agit des auctoritas que personne ne peut rejeter. Les écrivains de cette époque, pas soucieux de créer, se chargent donc de les transmettre aux illiterrati. Par ailleurs, les personnages jouent un rôle modélisant ; ils constituent des modèles archétypaux que personne ne peut contredire. Les écrivains se réfèrent à ceux-ci afin de mieux définir leur comportement ou adopter, plus généralement, une attitude propice à leur origine, à leur sexe et à leur âge. Par ailleurs, le recours à certains épisodes de leur vie se fait aussi afin d’instruire les hommes ou bien de les rebuter en leur montrant les résultats néfastes d’un comportement incompatible aux lois de la société ou de la nature. A la fin, on se réfère à certains épisodes car ils voient que c’est la meilleure façon pour passer leur message. Certes, le fait de promouvoir le modèle du chef parfait aide aussi la classe noble à se consolider dans une époque où celle-ci se sent menacée par une nouvelle classe qui voit le jour, la bourgeoise. En outre, les écrivains de cette époque trouvent l’occasion de faire passer leurs propres aspirations visant une meilleure société. Plus précisément, d’après eux, le bon chef doit être en réalité large, sage et instruit, capable de gérer intelligemment son fief de sorte que ses sujets puissent vivre harmonieusement. En outre, ils démontrent leur apport à la formation de la société. Même s’ils ne font pas partie de la classe qui fait la guerre, ils contribuent eux aussi à son bon fonctionnement à travers leurs connaissancesMyths, as well as their dominant figures, heroes, have attracted people throughout time. Since their first days of existence, people turned to them whenever they were needed. Medieval people were an eloquent example. Therefore, references to those narrations which managed to survive through time, as well as to those heroes were frequent. At first, those references existed simply because nobody was able to object to or turn down these references. They were auctoritas which referred to real events. The authors of this era were not asked to create, but to pass them on to the illiterate. Furthermore, they possess a formating role. They constitute questioneless archetypal models. Medieval people also resort to those narrations so that they are able to determine their behavior or adapt an attitude appropriate to their origin, their gender and their age. In addition, reference to particular incidents intends to instruct them or prevent them by means of exposing the harmful results of an incompatible behavior with the laws of society or nature.Finally, writers refer to stories regarding ancient heroes because they realize that it is the optimal way to get through their message.The fact that they promote the model of the perfect leader, contributes to consolidation of aristocracy at a time when the class seems to be threatened by a new rising class, the bourgeoisie. Furthermore, they take the opportunity of inculcating their aspirations in an effort to form a better society. So according to them, the perfect lord should be generous, wise and educated, able to handle his fief wisely, in harmony. On the other hand, we acknowledge the authors’ contribution to the formation of society. Even if they are not members of the class of knights, they also contribute to the suitable management of society by the means of their knowledge
2
Gourgues, Morgane. "Les églises rurales dans l’ancien diocèse d’Elne (Roussillon et Vallespir, Pyrénées-Orientales), entre le Vème et le XIème siècle : l’expression d’un palimpseste architectural ? Un répertoire des formes, entre préroman et anté-roman." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30026/document.
Анотація:
La pâleur des témoignages distillés par une Antiquité tardive et un haut Moyen Âge roussillonnais, pourtant florissant, a jeté un voile nous privant pour longtemps de toute la richesse chromatique d’une longue période, qui n’a d’obscure que les a priori que l’on s’en fait. Opérer une introspection sur la genèse du vocabulaire formel chrétien est inévitable pour en comprendre les raccourcis, ceux souvent initiés par une vision monofocale n’offrant que trop peu souvent la possibilité d’envisager le bâtiment ecclésial selon sa polysémie : tout à la fois lieux de l’accomplissement du culte, de rassemblement des fidèles, mais aussi lieux d’expression techniques et artistiques. Un condensé, en somme, au cœur d’une société en mutation, où les différents acteurs politiques n’ont eu, en réalité, qu’un impact modéré.Les modestes églises rurales anté-romanes, par leurs structures et leurs modes de construction, sont finalement révélatrices d’un héritage et d’une continuité, jusque là minimisés, voire insoupçonnés. En choisissant de ne pas dissocier l’évolution des techniques de celle des formes, tout en prenant en compte les nouvelles perspectives soulevées par l’archéologie médiévale, pour d’autres territoires, les postulats chronologiques s’étiolent, se faisant moins relatifs et plus impartiaux. Entre relecture et reformulation, il convient maintenant d’envisager une mise à l’épreuve de l’architecture préromaneThe scarcity of evidence trickled down from the late Antiquity and the Roussillon Early Middle Ages, although quite flourishing, has casta veil depriving us for quitea while of all the chromatic richness of a long era, obscure only because of the a priori one has about it. Carrying out an introspection into the genesis of the formal Christian vocabulary is an absolute must to understand its shortcuts, those being often brought about by a monofocal vision too rarely offering the opportunity to consider the church building according to its polysemy: worshipping and congregating places for the believers as well as places where their craftmanship and art could be expressed. A summary, all in all,in the midst of a mutating society where the various political actors have only had in fact a moderate impact.The humbleante-Romanesque rural churches, by their structures and their method of building are eventually revealing of a legacy and a continuity played downuntil now, unsuspectedindeed. By choosing not to dissociate the evolution of techniques from that of the forms while factoring in the new prospects brought up by medieval archaeology, for other areas, the chronological postulates weaken, becoming less relative and more unbiased. Between rereading and rewording, it is now advisable to consider putting to the test pre-Romanesque architecture
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Santos, Aline Benvegnú dos. "A ornamentalidade dos capitéis do claustro Sant Benet de Bages: as funções do decor na arte românica." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-26052015-102954/.
Анотація:
O claustro do mosteiro beneditino de Sant Benet de Bages, na Catalunha espanhola, é caracterizado pela grande quantidade e diversidade de elementos ornamentais esculpidos em seus capitéis, o que é um importante indício de como a ornamentação se constituía em tanto que instância fundamental para a estética medieval. No entanto, até hoje poucas pesquisas foram realizadas sobre este claustro, o que é revelador da pouca atenção dada pela historiografia da arte tradicional ao tema da ornamentação. De modo geral, as imagens medievais mais valorizadas enquanto objeto de estudo são as historiadas. Isso em muito se deve à supervalorização da ideia de Bíblia dos iletrados, em detrimento de uma análise mais profunda sobre a presença estrutural e da complexidade dos diversos elementos que compõem as imagens, dentre os quais, os elementos ornamentais. Os trabalhos existentes sobre o tema da ornamentação e sua presença nas imagens medievais são, com poucas exceções, superficiais, procurando categorizações estilísticas e raízes filológicas. Uma das exceções é a obra do medievalista e teórico da arte francês Jean-Claude Bonne, principal marco teórico de nossa pesquisa, e que cunhou os conceitos de ornamental e ornamentalidade. A partir destas noções é que nos dedicamos ao estudo do claustro de Sant Benet de Bages, considerando os papéis estruturantes da ornamentação na economia imagética medieval e a diversidade de funções que ela pode adquirir, relacionando-a ao contexto sócio-histórico onde foi produzida.The cloister of the Benedictine monastery of Sant Benet de Bages, in the Spanish Catalonia, has a large number and diversity of ornamental elements in its capitals, what sets us a fertile field of study. The few studies on this cloister indicate little attention by art historians to ornamentation, generally engaged in studying the historiated images. This is greatly due to the overemphasis of the idea of images as a \"Bible of the illiterate\", at the expense of a deeper analysis on the structural presence and complexity of the various elements that compose the images, among which, the ornamental elements. The existing papers on the subject of ornamentation and its presence in medieval images are generally superficial, limited to studies for stylistic categorizations, occupying a marginal place because they are supposed to be additional and unnecessary elements. At Sant Benet de Bages, like some other Romanesque cloisters, the amount of ornamental capitals exceeds that of historiated, which reveals the possibility of ornamentation to constitute a critical field to the aesthetic functioning of medieval art. This research aims to study such elements present in the cloister considering their structuring aspects in medieval imagetic economy, and the diversity of functions that can carry the concepts of \"ornemental\" and \"ornementalité\", proposed by the medievalist and French art theorist Jean-Claude Bonne, opening new possibilities for their study.
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Nicolier, Anelise. "La construction d'un paysage monumental religieux en Brionnais à l'époque romane." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20120/document.
Анотація:
Au Sud de la Bourgogne, le Brionnais peut de loin apparaître comme une génération spontanée du XII° siècle. De fait, ce n’est ni une région physique naturelle, ni une division ecclésiastique. En un temps où une frontière vient séparer la France et la Bourgogne, puis l’Empire, une sorte de hasard va faire de ce territoire disparate, en marge, dirait-on, une marche, vouée à se définir. Le Brionnais va se former, bénéficiant d’une politique volontaire, due à la présence active de deux seigneuries féodales, incarnées par les familles de Semur et Le Blanc : autour d’elles, par le jeu des alliances, voire des rivalités, par les prestigieuses carrières ecclésiastiques de certains de leurs membres, les seigneurs du Brionnais tissent des liens avec les grandes familles des territoires voisins. Au résultat, solidité au dedans,ouverture au dehors sur les régions limitrophes, les lieux de culte, églises et monastères, fleurissent en peu de décennies, pour en dessiner un paysage monumental spécifique. Il sera précisément marqué par une originalité assez sûre d’elle-même pour chercher, adopter, interpréter et faire fructifier les influences. En somme, réseau politique, réseau artistique, les édifices religieux vont former un ensemble animé de riches interactions. Ce point de vue nous a permis de renouveler le regard porté jusqu’ici sur ce domaine original, le paradoxe étant que cet ensemble n’est pas parvenu jusqu’au XXIe siècle sans pertes ni modifications, et que, sous des apparences romanes, le paysage actuel est avant tout une construction du XIXe siècle ! Il a donc fallu procéder tout d’abord à une analyse régressive, de décapage dans le temps, et de reconstitution prudemment guidée par les traces et la documentation. En parcourant à reculons le patrimoine religieux contemporain et moderne, nous avons pu remonter jusqu’au IX° siècle, jusqu’ici ignoré de la recherche : elle ne s’était intéressée qu’aux églises conservées en élévation, alors que plus de la moitié des églises construites entre le IX° siècle et le XII° avaient disparu de la surface observable. Le premier résultat est d’importance : l’on peut maintenant suivre la genèse du tissu paroissial, comme un glissement du découpage en agri et villæ vers un maillage de parrochiæ. Une fois restitués la géographie politique et ecclésiastique et le patrimoine, il s’est révélé que le contexte particulier du Brionnais avait donné naissance à une architecture religieuse particulière, grâce à l’étude de la morphologie des bâtiments, de leur style, à une attention spéciale portée à la pierre à bâtir depuis son approvisionnement jusqu’à l’ouvrage. L’architecture du Brionnais offre de fait un profil totalement original. Le détail des analyses montre une invention, née de la capacité des bâtisseurs à puiser formes et techniques à des répertoires variés pour composer des créations inédites. Naturellement, comme l’historiographie du Brionnais roman est abondante (en particulier concernant le décor sculpté), notre travail a croisé les sources de réflexion, les bâtiments, les textes et les images, associant archéologie du bâti, histoire de l’art, géologie, histoire. Pour revenir au côté paradoxal, nous avons gardé le souci de favoriser autour de notre XII° siècle le temps long de l’Histoire, et l’époque Moderne, par exemple, nous a beaucoup parlé du Brionnais romanLocated in South Burgundy, France, the region known as the Brionnais appears, at first glance, to be a 12th Century spontaneous by-product. It is indeed neither a natural region, nor is it of ecclesiastical division. However, in a time where frontiers separated France and Burgundy, and later the Empire, a sort of contingency will mend this disparate and marginal territory into a singularly defined region. The Brionnais will form itself through willful policies thanks to the active presence of the Semur and Le Blanc lordships. The lords of the Brionnais will form connections with neighboring lords through games of alliances and rivalries, as well as through the ecclesiastical careers of certain of their members. The result: an inland solidity, an openness to the adjacent regions; places of worship, churches and monasteries flourish in mere decades in order to construct a singular landscape of religious monuments. The latter will precisely be marked by an originality sure of itself in order to seek, adopt, interpret and make bear fruit of its influences. In all, political and artistic network as well as the religious fabrics will create an ensemble of truly rich interactions. This allowed us to renew our view on this original domain, the paradox being that the latter didn’t survive up to the 12th Century without any loss or modification, and that, under Romanesque appearances, the present Brionnais landscape was actually mainly constructed in the 19th Century! Guided by traces and documentation, I proceeded through a regressive analysis, scouring through time, in order to carefully reconstruct the history of theRomanesque Brionnais religious monuments. Going back through the contemporary and modern religious heritage, I was able go as far back as the 9th Century, thus far ignored by research: indeed, until now, research only concentrated on churches conserved above ground, whereas more than half of the churches built between the 9th and 12th Century disappeared from the observable surface. The first result is of paramount importance: we can now follow the parochial structure genesis, like a shift from an agri and villae division to a parochiae network. Once the heritage and political and ecclesiastical geography reproduced, it appeared that the particular context of the Brionnais region gave birth to a particular religiousn architecture, notably thanks to the study of the monuments’ morphology, its style, and tothe attention given to the stone used, from its provision to the work and result itself. Hence, the original profile of the Brionnais architecture. The detail of the analysis show true invention, hatched from the builders’ ability to draw formes and techniques from various repertoires to give birth to unprecedented creations.Naturally, considering the abundant Brionnais Romanesque historiography (notably the sculptured decor), I cross-checked sources of reflection, monuments, textes and images, associating construction archeology, art history, geology and history. Coming back to the paradoxical aspect, I kept the interest of favoring the 12th Century the time of History, and the Modern era, for example, spoke quite a lot about of the Romanesque Brionnais
5
Ducret, Sophie. "La fabrique de la création artistique : Approche historiographique et épistémologique du processus de la commande au Moyen Âge : l’exemple des peintures murales du Midi de la France aux âges romans (XIe-XIIe siècle)." Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30047.
Анотація:
La pratique de la peinture murale aux âges romans a bénéficié, depuis sa “redécouverte“ au XIXe siècle, d’une longue tradition d’études en France et en Europe. Cette historiographie s’établit dans les développements d’un champ d’études plutôt récent mais s’est enrichie des évolutions épistémologiques des disciplines connexes, comme l’histoire et plus généralement les sciences sociales. Dans la continuité des recherches récentes portant sur les acteurs de la création artistique, en particulier dans le domaine de la peinture murale, notre thèse s’intéresse à un acteur essentiel de la production désigné traditionnellement sous le terme de “commanditaire“. Sur la base d’un corpus de 30 ensembles conservés dans le Midi de la France, datés pour la majorité du XIIe siècle et face à un silence des sources historiques, nous nous sommes confrontée à la question de la “commande“. La démarche historiographique permet de mettre en perspective certains acquis sur le sujet et de proposer une nouvelle vision de la création artistiqueSince its 'rediscovery' in the 19th century, the practice of wall painting in the Romanesqueages has benefited from a long tradition of study in France and Europe. This historiography is based on developments in a fairly recent field of study, but has been enriched by epistemological developments in related disciplines, such as history and the social sciences more generally. Following on from recent research into the players involved in artistic creation, particularly in the field of mural painting, our thesis focuses on an essential player in production traditionally referred to as the 'patrons'. On the basis of a corpus of 30 ensembles preserved in the South of France, most of which date from the twelfth century, and faced with a silence in the historical sources, we have confronted the question of 'commissioning'. The historiographical approach enables us to put into perspective certain knowledge we have gained on the subject, and to propose a new vision of artistic creation
6
Varano, Mariacristina. "" Espace religieux et espace politique en pays provençal au Moyen Âge (IXe-XIIIe siècles). L'exemple de Forcalquier et de sa région "." Phd thesis, Université de Provence - Aix-Marseille I, 2011. http://tel.archives-ouvertes.fr/tel-00656210.
Анотація:
Cette recherche d'archéologie médiévale a pour objet l'incidence des pouvoirs locaux et régionaux sur l'occupation du territoire du pays de Forcalquier et sur son architecture. Nous nous sommes proposé d'éclairer les évolutions de l'occupation de ce territoire sur une séquence chronologique allant du IXe au XIIIe siècle. Cette période permet d'appréhender les implications des pouvoirs locaux tant politiques que religieux et de percevoir les mutations sociales, culturelles et matérielles communes à l'Occident médiéval. Les espaces religieux et les espaces politiques ont formé autour de Forcalquier une véritable mosaïque de terroirs dont la diversité de l'institution qui la dominait apparaît par le biais du vestige matériel. L'étude souhaite apporter sa contribution à une meilleure connaissance de la Provence médiévale.
7
GREPPI, PAOLA. "IL REIMPIEGO DEI MATERIALI DA COSTRUZIONE NEL CANTIERE MEDIEVALE. DINAMICHE DI TRASFORMAZIONE, LINEE EVOLUTIVE E INDICATORI CRONOTIPOLOGICI NELLE ARCHITETTURE MILANESI TRA TARDOANTICO E XII SECOLO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3157.
Анотація:
La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico.
Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero.
La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti.
La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo.
Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.
8
GREPPI, PAOLA. "IL REIMPIEGO DEI MATERIALI DA COSTRUZIONE NEL CANTIERE MEDIEVALE. DINAMICHE DI TRASFORMAZIONE, LINEE EVOLUTIVE E INDICATORI CRONOTIPOLOGICI NELLE ARCHITETTURE MILANESI TRA TARDOANTICO E XII SECOLO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2014. http://hdl.handle.net/10280/3157.
Анотація:
La tesi è rivolta allo studio comparativo delle tecniche costruttive datate tra tardo antico e romanico (fine IV-XII secolo), con particolare attinenza agli edifici di culto milanesi. L'obiettivo principale è stato quello di delineare le linee evolutive delle tecniche costruttive e identificare la presenza di caratteri tecnici particolari che avessero valore di indicatore cronotipologico.
Il quadro complesso e articolato degli studi pregressi sulle più note basiliche medievali milanesi ha reso necessaria l'indagine, per la presenza di ipotesi interpretative contraddittorie e la frequente carenza di indagini aggiornate sotto il profilo metodologico. Per questa ragione, la prima parte del lavoro è stata rivolta alla definizione della storia degli studi editi riguardanti temi di carattere archeologico e architettonico, che hanno costituito la base di riferimento per l'individuazione delle campionature murarie da analizzare. Nell'ambito di questa stessa sezione si è resa poi indispensabile la stesura di una parte destinata alla trattazione del metodo utilizzato che, per quanto riguarda l'analisi del materiale da costruzione in laterizio, ha previsto l'applicazione, in via sperimentale su un raggio di indagine così esteso, del metodo mensiocronologico al materiale di recupero.
La seconda parte della tesi ha riguardato l'analisi dei principali contesti architettonici esaminati (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazaro Maggiore, S. Ambrogio, S. Eustorgio), affrontata con schede apposite destinate all'inquadramento dei dati storico-archeologici pregressi, delle campionature murarie esaminate, in pietra e laterizio, e dei risultati delle analisi metriche. Ogni fase costruttiva individuata è stata poi approfondita in sezioni specifiche nelle quali sono confluiti i risultati raggiunti.
La terza ed ultima parte del lavoro, è stata infine rivolta alla trattazione delle cronotipologie dei tipi costruttivi elaborate (in opus latericium, opus latericium spicatum e opera di spolia), a quella dei principali indicatori cronotipologici individuati e alle loro modalità di trasformazione nel tempo.
Il lavoro di ricerca ha aperto molteplici prospettive di approfondimento, relative ai singoli monumenti trattati ma anche a problematiche di più ampio respiro nel settore dell'edilizia medievale, che sono state trattate nel capitolo conclusivo.The thesis is dedicated to the comparative study of construction techniques dating from late antiquity and Romanesque (end of 4th-12th century), with particular attention to the religious buildings in Milan. The main objective was to represent the evolutionary lines of the construction techniques and to identify the presence of technical characteristics that have a specific age-typology meaning. The contradictory interpretative hypotheses and the lack of up-to date - in terms of methodology - investigations within the complex and extensive literature on the most known medieval basilicas in Milan has inspired this investigation. For this reason, the first part of the work treats the definition of the history of the published studies on the archaeological and architectural subjects, which have represented the reference for the identification of the masonry samples to be analyzed. As part of this section it was necessary the drafting of a description of the method used. With regard to the analysis of structural clay material, such process provided for the application - on an experimental basis on a so extensive investigation - of the metric-age analysis method to the recovered material. The second part of the thesis concerned the analysis of the main architectural complexes examined (S. Giovanni alle Fonti, S. Tecla, S. Simpliciano, S. Nazario Maggiore, St. Ambrose, St. Eustorgio), performed through dedicated files for the classification of former historic-archaeological data, of the masonry and the stone and brick samples tested, and of the results of the metric analysis. Each identified construction phase was then further investigated in specific sections where the results are gathered. The third and final part of the work concerns the discussion of the developed age-typologies of the construction materials (opus latericium, opus spicatum latericium and works in spolia), the main age-typology indicators identified and the different ways they changed over time. The research has opened up many scenarios for further studies, in relation to the individual monuments treated but also to broader issues in the sector of the Middle Ages building activity, as discussed in the final section.
9
Cozette, Sandrine. "Hector au Moyen Age : définition et évolution d'un personnage épique et romanesque." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30002.
Анотація:
L’engouement du Moyen-Âge pour le mythe troyen se traduit tout particulièrement à travers sa figure centrale, Hector. Benoît de Sainte-Maure, qui s’appuie sur la tradition homérique telle que l’a transmise la littérature latine tardive (Ilias latina, Éphéméride de la guerre de Troie de Dictys de Crète, Histoire de la destruction de Troie de Darès le Phrygien), fait du fils de Priam le héros incontesté de son œuvre, le Roman de Troie, et glorifie les exploits de ce guerrier à la prouesse exemplaire. Ce texte constitue le jalon majeur de la construction du mythe d’Hector à l’époque médiévale, dont témoignent les réécritures en prose ou en vers, même si, parallèlement, l’histoire de Troie continue d’être transmise par le texte latin de Darès ou sa traduction. À ces deux traditions s’ajoute celle qui naît de l’œuvre de l’Italien Guido delle Colonne, l’Historia destructionis Troiae, réécriture latine du roman de Benoît au XIIIe siècle. Cependant la notoriété de la figure d’Hector s’exprime aussi dans des œuvres où le personnage tend à se dissocier du destin de sa cité et apparaît seul ou associé à d’autres héros, troyens ou non, pour servir de référence en terme de bravoure, ce qui lui vaut de figurer parmi les Neuf Preux. C’est pourquoi le personnage va continuer d’évoluer indépendamment du roman de Benoît et de ses réécritures directes, ce qui se perçoit aussi bien dans la chanson de geste que dans les récits arthuriens. Les valeurs qu’il incarne intéressent aussi bien l’auteur de l’Ovide moralisé que Christine de Pizan. Figure exemplaire, presque archétypale, Hector est aussi un personnage protéiforme dont l’histoire ne cesse d’être réécrite par la tradition médiévaleIn the Middle Ages, the interest in the Trojan myth focuses particularly on its main character, Hector.Using the Homeric tradition inherited from the late Latin literature ( Ilias latina, Ephemeridos belli troiani by Dictys of Crete, De Excidio Troiae historia by Dares the Phrygian) as a basis to his work, Benoît de Sainte Maure makes Priam’s son the uncontested hero of his novel, The Roman de Troie, in which he praises the feats of this exceptional warrior.This text greatly contributes to the construction of Hector’s myth during the Middle Ages, as shown by its rewritings in prose or verse, although the story of Troy was also transmitted via Dares’ Latin text or its translation.In addition to these two traditions, another one appeared in the 13th century with the Italian Guido delle Colonne whose Historia Destructionis Troiae is a Latin rewriting of Benoît’s novel.However, Hector’s fame also asserts itself in other works in which the character tends to dissociate himself from his city’s destiny and appears alone or associated to other heroes, Trojan or not, to serve as a reference in terms of bravery, which earned him his place among the Nine Worthies.That is why this character continues to evolve independently from Benoit’s novel and its rewritings, as can be seen through epic poetry and Arthurian tales.Both Christine de Pizan and the author of Ovide moralisé take an interest in the values he embodies.Hector is a model, almost an archetypal figure as well as a character whose story never ceased being rewritten by Medieval tradition
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Ceretti-Malinowski, Béatrice. "Le roman des brodeuses : évolution de la forme romanesque au Moyen Age (XIIème-XIVème siècles)." Montpellier 3, 1999. http://www.theses.fr/1999MON30055.
Книги з теми "Romanesque ages":
1
Götze, Heinz. Castel del Monte: Geometric marvel of the Middle Ages. Munich: Prestel, 1998.
2
McClendon, Charles B. The imperial abbey of Farfa: Architectural currents of the early Middle Ages. New Haven: Yale University Press, 1987.
3
Christoph, Stiegemann, Westermann-Angerhausen Hiltrud, and Erzbischöfliches Diözesanmuseum Paderborn, eds. Schatzkunst am Aufgang der Romanik: Der Paderborner Dom-Tragaltar und sein Umkreis. München: Hirmer, 2006.
4
Christoph, Stiegemann, Wemhoff Matthias, Museum in der Kaiserpfalz (Paderborn, Germany), Erzbischöfliches Diözesanmuseum Paderborn, and Städtische Galerie am Abdinghof (Paderborn, Germany), eds. Canossa 1077: Erschütterung der Welt : Geschichte, Kunst und Kultur am Aufgang der Romanik. München: Hirmer, 2006.
5
(Museum), Cloisters. The Cloisters: A branch museum of the Metropolitan Museum of Art devoted to art of the Middle Ages. [New York]: The Museum, 1988.
6
Leroux-Dhuys, Jean-François. Cistercian Abbeys: History and architecture. Köln: Könnemann, 1998.
7
New York (N.Y.). Landmarks Preservation Commission. Trinity School and the former St. Agnes Parish House, 121-147 West 91st Street, Borough of Manhattan: Trinity School built 1893-94, architect, Charles Coolidge Haight ; St. Agnes Parish House built c. 1890-92, architect, William Appleton Potter. New York, N.Y.]: Landmarks Preservation Commission, 1989.
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Campbell, Erin J., and Stephanie R. Miller, eds. A Cultural History of Furniture in the Middle Ages and Renaissance. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781474206464.
Анотація:
The Middle Ages were marked by dramatic social, economic, political, and religious changes. Diverse regional and local conditions, and varied social classes - including peasant, artisan, merchant, clergy, nobility, and rulers - resulted in differing needs for furniture. The social settings for furniture included official and private residences both grand and humble, churches and monasteries, and civic institutions, including places of governance and learning, such as municipal halls, guild halls, and colleges. This volume explores how furniture contributed to the social fabric within these varied spaces. The chronological range of this volume extends from the fall of the Roman Empire through to the early Renaissance, a period which exhibited a wide array of types, styles, and motifs, including Byzantine, Romanesque, Gothic, and Renaissance. Rural and regional styles of furniture are also considered, as well as techniques of furniture manufacture. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.
9
Reilly, Diane J. The Art of Reform in Eleventh-Century Flanders: Gerard of Cambrai, Richard of Saint-Vanne and the Saint-Vaast Bible (Studies in the History of Christian Traditions, Vol. 128). Brill Academic Publishers, 2006.
10
Leroux-Dhuys, Jean-Francois, Jean-Francois Leroux, and Henri Gaud. Cistercian Abbeys. Konemann, 1999.
Частини книг з теми "Romanesque ages":
1
Fozi, Shirin. "The Quedlinburg Frieze and Its Romanesque Context." In A Companion to the Abbey of Quedlinburg in the Middle Ages, 235–78. BRILL, 2022. http://dx.doi.org/10.1163/9789004527492_010.
2
"Carolingian, Ottonian and Romanesque Art and the Eucharist." In A Companion to the Eucharist in the Middle Ages, 251–324. BRILL, 2012. http://dx.doi.org/10.1163/9789004221727_008.
3
"8. The Making of Romanesque. Reform and Synergy." In Art in Spain and Portugal from the Romans to the Early Middle Ages, 305–46. Amsterdam University Press, 2016. http://dx.doi.org/10.1515/9789048527151-013.
4
"Romanesque Churches of the Middle Ages, c.1080 to c.1180." In The Architecture of Wales, 53–65. University of Wales Press, 2018. http://dx.doi.org/10.2307/jj.14491508.11.
5
Mehl, Manfred. "Bracteates of the Abbesses of Quedlinburg: Romanesque Craftwork of Great Quality." In A Companion to the Abbey of Quedlinburg in the Middle Ages, 223–34. BRILL, 2022. http://dx.doi.org/10.1163/9789004527492_009.
6
Altvater, Frances. "Chores, Computation and the Second Coming: Calendar Images and Romanesque Baptismal Fonts 1." In The Visual Culture of Baptism in the Middle Ages, 149–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315084954-8.
7
Woods, Marjorie Curry. "Boys performing women (and men)." In Weeping for Dido, 104–52. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691170800.003.0004.
Анотація:
This chapter looks at passages that beg for performance and at evidence for the recitation by boys of emotional scenes, often with female characters. The manuscripts discussed fit squarely into an already established pedagogical tradition that begins long before and continues long after the “middle” ages. The chapter addresses the medieval teaching of literature from a transhistorical as well as historical perspective and in ways that encourage comparison with other periods. It begins with a translation in The Loving Subject: Desire, Eloquence, and Power in Romanesque France. The poem, thirty lines long, falls into three parts. The first describes the narrator's emotional state and the boy who will try to distract him. Then comes the description of the boy's performance of the lament, which is artificial in a positive sense.
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Lee, Antoinette J. "The Supervising Architect ‘ Office In The Gilded Age 1875—1894." In Architects to the Nation, 111–62. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195128222.003.0005.
Анотація:
Abstract The financial panic of 1873 and the subsequent depression lasted for nearly a decade and influenced the course of the federal architecture program. Mullett’s Second Empire building designs seemed incompatible with the economic times. The national mood and taste swung to a more spartan style that bespoke economy and efficiency. Coincidentally, the federal buildings designed during this period, for the most pan, were located in smaller cities, as the large urban centers had already been provided with structures from Mullen’s administration. Economic considerations as well as locational factors called for federal buildings that differed dramatically from those that had preceded them. The federal architecture program, as well as state and local public architecture, fell under the spell of the national architectural trend that favored first the Gothic and then the Romanesque styles. Dissemination of John Ruskin’s writings and information on the architectural works of Viollet-le-Ouc popularized the Gothic style in the United States. Later, the works of Henry Hobson Richardson were to exert a strong influence in shaping public architecture around adaptations of his Romanesque style.