History of art Books

Book SynopsisDas Buch behandelt den Isiskult während der römischen Kaiserzeit, wie er in zahlreichen Darstellungen der ägyptischen Göttin und solcher ihr angeglichener Frauen zum Ausdruck kommt und somit zwei Problemkreise, nämlich die Stellung jener Frauen im Kult sowie die damit verbundene Frage nach Sinn und Bedeutung der für die Angleichung verbindlichen Isisbilder. Das Buch bietet mit einem Katalog und einem volständigen Abbildungsteil zugleich eine ikonographische und ikonologische Untersuchung des Themas. This book treats the cult of Isis in the Roman imperial era, as it comes to expression in the many representations made of the Egyptian goddess, and of the portrayal of mortal women who are made to resemble Isis in features, clothing and attributes. Thus, two issues are dealt with: the position of these women in the cult on the one hand and the related question of the meaning and interpretation of the images of Isis used in such identification with mortals on the other hand. With a catalogue and a complete set of illustrations this book offers also an iconographic and an iconological examination of the theme.Trade Review'Cet ouvrage constitue une importante contribution à l'iconographie isiaque et un précieux recueil de documents.' Michel Malaise, Kernos, 1992. 'His Catalogue and corpus of plates are without doubt of enduring worth...' J. Gwyn Griffiths, The Classical Review, 1992. '...rendra d'indiscutables services.' Jean-Ch. Balty, L'Antiquité Classique, 1993. '...clearly written, well-organized...' Mark T. Gustafson, Religious Studies Review, 1993. '...on ne peut que féliciter l'auteur pour sa recherche méthodique et pour sa remise - très utile - des conceptions...' Tran Tam Tinh, Bonner Jahrbücher, 1993.

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Book SynopsisAn exploration of the interaction between art and politics in early modern Germany, this work focuses on art, political in content, produced by the Augsburg artist Jörg Breu the Elder during the second and third decodes of the sixteenth century. The book argues for the function of the art as fashioning political identities. The artist Jörg Breu is first introduced. His work for the city of Augsburg and for Habsburg and Wittelsbach rulers are examined. These works are placed within their historical context and analyzed according to how they articulate themes of warfare, ceremony, and history in order to construct political identity. The analysis of Breu's city chronicle and of the response of his art to political contest is particularly useful for historians of art and of politics.

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Book SynopsisThe Allure of the Ancient investigates how the ancient Middle East was imagined and appropriated for artistic, scholarly, and political purposes in the seventeenth and eighteenth centuries. Bringing together scholars of the ancient and early modern worlds, the volume approaches reception history from an interdisciplinary perspective, asking how early modern artists and scholars interpreted ancient Middle Eastern civilizations—such as Egypt, Babylonia, and Persia—and how their interpretations were shaped by early modern contexts and concerns. The volume’s chapters cross disciplinary boundaries in their explorations of art, philosophy, science, and literature, as well as geographical boundaries, spanning from Europe to the Caribbean to Latin America. Contributors are: Elisa Boeri, Mark Darlow, Nirit Ben-Aryeh Debby, Florian Ebeling, Margaret Geoga, Diane Greco Josefowicz, Andrea L. Middleton, Julia Prest, Felipe Rojas Silva, Maryam Sanjabi, Michael Seymour, John Steele, and Daniel Stolzenberg.Table of ContentsEditors’ Acknowledgements List of Illustrations Notes on the Editors Notes on the Contributors 1 Introduction  Margaret Geoga and John Steele 2 Images of Babylon in Early Modern Europe  Michael Seymour 3 Between Babylon and Rome: The Panorama of Constantinople (1662)  Nirit Ben-Aryeh Debby 4 Collapsing Identities of Ptolemaic Queens in Early Modern Rome  Andrea L. Middleton 5 Reading the East: From the Enlightenment to the Utopic Projects of the Revolutionary Architects  Elisa Boeri 6 Freemasons and Platonism: The Allure of Egypt between Big Ideas and Small Details  Florian Ebeling 7 Zoroaster’s French Moment  Maryam Sanjabi 8 Ancient and Modern: Citational Practices and the Status of Ancient Egypt in Jean Terrasson’s Séthos  Margaret Geoga 9 Representing Egypt in French Enlightenment Musical Theatre: From Gherardi to the Opéra national  Mark Darlow 10 From Tragic Hero to Creole Businesswoman: Voltaire’s Semiramis and Her Parodies in 18th-Century France and Saint-Domingue  Julia Prest 11 Babylonians in Sixteenth-Century Mexico: Comparative Antiquarianism in the Work of Sahagún  Felipe Rojas Silva 12 Egypt and Babylon in Eighteenth-Century European Histories of Astronomy  John Steele 13 What Was Oriental Studies in Early Modern Europe? “Oriental Languages” and the Making of a Discipline  Daniel Stolzenberg 14 On Religious Systems: An Early Essay by Jean-François Champollion  Diane Greco Josefowicz Index Nominum

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Book SynopsisThis collection of essays on Islamic art and architecture in the nineteenth century covers a wide geographical area and draws together different regional elements. The essays devote much attention to social, political, economic and intellectual issues, including the role of tradition and responses to European aesthetics, among them the appropriation of orientalism and the rise of revivalist movements.Trade Review"... einen Grundbaustein für ein Gebiet, von dem zu hoffen ist, dass es in Zukunft weitere beobachtungen finden wird." Silvia Naef, Universität Genf "This volume ... is a valuable contribution to a broader approach of the field." Sophie Makariou,The Louvre Museum in Central Eurasian Reader 2 (2010).

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Book SynopsisThe twenty-nine Buddhist caves near Ajanta form a devotional complex which ranks as one of the world's most startling achievements, created at the very apogee of India's Golden Age. Ajanta: History and Development, appears as part of the series Handbook of Oriental Studies, present the reader with a systematic treatment of all aspects of the site, the result of forty years of painstaking research in situ by Walter M. Spink. Volume one deals with the historical context in which this dramatic burst of pious activity took place under the reign of Vakataka emperor Harisena, (c. 460 – 477 A.D.), and with the sudden halt of activity almost immediately following the death of the emperor. In surprising detail the relative and absolute chronology of the site can be established from a careful reading of the physical evidence, with consequences for our dating of India’s Golden Age. Ajanta, it appears, is a veritable illustrated history of Harisena’s times, crowded with information on its history, development and how it was used. Originally published in hardcover

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Book SynopsisAjanta:Year by Year is planned as a biography of this remarkable site, starting with the earliest caves, dating from some two thousand years, to its startling renaissance in the brief period between approximately 462 and 480. Concentrating on the excavations of the later period, during the reign of the Vakataka emperor Harisena, it attempts to show how, after a surprising gap of some three hundred years, Ajanta’s proud and pious courtly patrons and its increasingly committed workmen created not only the greatest but the latest monument of India’s Golden Age. Nearly three hundred illustrations, in color and black and white, reveal the exuberant flowering of Ajanta and related Vakataka monuments, as well as the manner of their sudden demise.Trade Review"(..) allows a larger audience to experience Ajanta not as a monolithic manmade wonder but as a site that reveals the complexities of Buddhist artistic and devotional practice in the late fifth century CE." Lisa N. Owen, University of Texas, JAS

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Book SynopsisVolume Two begins with writings by some of the most important critics of Walter Spink's conclusions, interspersed with his own responses, using a thorough analysis of the great Cave 26 to support his assertions. The author then turns to matters of patronage, and to the surprising fact that, unlike most other Buddhist sites, Ajanta was purely "elitist", developed by less than a dozen major patrons. Its brief heyday traumatically ended, however, with the death of the great emperor Harisena in about 477, creating political chaos. Ajanta's anxious patrons now joined in a headlong rush to get their shrines dedicated, in order to obtain the expected merit, before they fled the region, abandoning their caves to the monks and local devotees remaining at the now-doomed site. These "intrusive" new patrons now filled the caves with their own helter-skelter votive offerings, paying no heed to the well-laid plans of the years before. A similar pattern of patronage is to be found in the redecoration of the earlier Hinayana caves, where the careful planning of the work being done during Harisena's reign is suddenly interrupted by a host of individual votive donations. The volume ends with a new and useful editing of Ajanta inscriptions by Richard S. Cohen.

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Book SynopsisThis publication offers a wide-ranging account of the Mongols in western and eastern Asia in the aftermath of Genghis Khan's disruptive invasions of the early thirteenth century, focusing on the significant cultural, social, religious and political changes that followed in their wake. The issues considered concern art, governance, diplomacy, commerce, court life, and urban culture in the Mongol world empire as originally presented at a 2003 symposium at the Los Angeles County Museum of Art and now distilled in this volume. This collection of 23 papers by many of the main authorities in the field demonstrates both the scope and the depth of the current state of Mongol-related studies and will undoubtedly inspire and provoke further research. The text is profusely illustrated by 27 color and 110 black-and-white illustrations.Trade Review"...this is a highly important collection which stresses the significance and fertility of cultural transmission in Mongol Eurasia and particularly its expressions in western Asia." Michal Biran in MESA Bulletin 41.2 (2007), 204-205.

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Book SynopsisDeath and grief have often elicited the response of creativity, from elegies and requiems to memorial architecture. Such artistic expressions of grief form the focus of Grief, Identity, and the Arts, which brings together scholars from the disciplines of musicology, literature, sociology, film studies, social work, and museum studies. While presenting one or more case studies from a range of artistic disciplines, historical periods, or geographical areas, each chapter addresses the interdependence of grief and identity in the arts. The volume as a whole shows how artistic expressions of grief are both influenced by and contribute to constructions of religious, national, familial, social, and artistic identities. Contributors to this volume: Tammy Clewell, Lizet Duyvendak, David Gist, Maryam Haiawi, Owen Hansen, Maggie Jackson, Christoph Jedan, Bram Lambrecht, Carlo Leo, Wolfgang Marx, Tijl Nuyts, Despoina Papastathi, Julia Płaczkiewicz, Bavjola Shatro, Caroline Supply, Nicolette van den Bogerd, Eric Venbrux, Janneke Weijermars, Miriam Wendling, and Mariske Westendorp.Table of ContentsAcknowledgements List of Figures Notes on the Editors and Contributors 1 Grief, Identity, and the Arts in the West: An Introduction  Bram Lambrecht and Miriam Wendling PART 1: Collective Religious Identities Introduction to Part 1 2 The Arts of Inclusion and Exclusion: Funerary Art Taken from the Example of the Municipal Cemetery Tongerseweg Maastricht  Christoph Jedan, Mariske Westendorp and Eric Venbrux 3 Mary’s Grief in 18th-Century Passion Oratorios: Some Notes on Its Confessional and Interconfessional Aspects  Maryam Haiawi 4 The Composer as Intellectual: Biblical Interpretation and Jewish Martyrdom in Alexandre Tansman’s Isaïe le prophète  Nicolette van den Bogerd PART 2: Personal Religious Identities Introduction to Part 2 5 Reaching Towards Heaven: An Examination of Robert Schumann’s Views About Religion in his Requiem in D-Flat Major, Op. 148  Owen Hansen 6 “The Rustling in the Trees Is / Not the Rustling in the Trees / It Is Your Voice”  Mystical Relationality and the Liquid Poetics of Postsecular Mourning in Joost Baars’s Binnenplaats [Enclosure] (2017)  Tijl Nuyts PART 3: National Identities Introduction to Part 3 7 Here is Their Spirit: Contemporary Expressions of Grief at the Australian War Memorial  David Gist 8 Mary Vitali “fidanzata dei morti”: An Investigation into the Genre of Grief Memoirs in Gabriele d’Annunzio’s Fiume  Carlo Leo 9 Politics, Memory, and Grief in Contemporary Albanian Autobiographic Writing  Live to Tell; A True Story of Religious Persecution in Communist Albania by Fr Zef Pllumi  Bavjola Shatro PART 4: Family Identities/The Inner Circle Introduction to Part 4 10 Conjugal Mourning in French Neo-Latin Poetry: A Reading of Louis Des Masures’s Carmen 29  Caroline Supply 11 The Empty Chair in Children’s Picture Books: More Than Just a “Classic Image”  Maggie Jackson 12 The Horror of Grief: Monstrous Effects of Unaddressed Grief in Jennifer Kent’s The Babadook  Julia Paczkiewicz 13 Dutch Mourning Poetry in the 19th Century: The Case of Prudens van Duyse’s Natalia (1842)  Janneke Weijermars PART 5: Social/Societal Identities Introduction to Part 5 14 Mourning Someone You Never Knew: A Gesture of Civilization  Lizet Duyvendak 15 Contested Legacies of Modernist Memorialization: The May 4 Memorial  Tammy Clewell PART 6: Identities of a Genre/Artistic Identity Introduction to Part 6 16 The Elegiac Poetry of Kiki Dimoula and the Visual Arts  Despoina Papastathi 17 Musical Representations of Grief and Death  Wolfgang Marx Index

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Book SynopsisThis volume deals with specific issues related to Tibetan art, ranging from the earliest Buddhist buildings in central, southern and eastern geocultural Tibet up to the artistic traditions flourishing in the 20th century. The papers are arranged following the chronology of the sites or the themes taken into consideration in the first part and logical criteria in the latter part. Illustrated with numerous black-and-white pictures and 32 pages of colour plates, its contents are of special interest to scholars and specialists, while a large part is accessible to non-specialists, too, which makes the book useful also to university students interested in the subject as well as amateurs of Tibetan art.Table of ContentsPlease note that Cameron David Warner's name is spelled correctly in this table of contents, the contents in the book contains an error. List of Illustrations Erberto Lo Bue—Foreword History Cameron David Warner—a Prolegomenon to the Palladium of Tibet, the Jo bo Śākyamuni André Alexander—Rme ru rnying pa, an Extant Imperial-Period Chapel in Lhasa Christian Luczanits—On the Iconography of Tibetan Scroll Paintings (Thang ka) Dedicated to the Five Tathāgathas Eva Allinger—Thang kas Dedicated to the Vajradhātumaṇḍala. Questions of Stylistic Connections Helmut and HeidI Neumann—The Wall Paintings of the Mgon khang of Lcang Sgang ha Michael Henss—Liberation from the Pain of Evil Destinies: the Giant Appliqué Thang kas (gos sku) at Gyantse (Rgyal rtse dpal ’khor chos sde) Irmgard Mengele—New Discoveries about the Life of Chos dbyings rdo rje, the Tenth Karma pa of Tibet 1606–1674) Gabrielle Yablonski—The Scarcely Known Temple of Maṇi Lhakhang, Dechen County, Central Tibet:a Possible Bka’ gdams pa Foundation? Sarah E. Fraser—Sha bo tshe ring, Zhang Daqian and Sino-Tibetan Cultural Exchange, 1941–1943: Defining Research Methods for A mdo Regional Painting Workshops in the Medieval and Modern Periods 'Minor’ Arts, Iconography, TechnIques, MaterIals and Photographic Records Dralha Dawa Sangpo—A Survey Report on a Carved Stone Tibetan “Go” Board: Newly Found Evidence of the Tibetan Culture of “go” Tenpa Rabten—A Brief Discussion of the Origin and Characteristics of the Decorative Design on Tibetan Rlung rta (Prayer Flags) Zara Fleming—The Ritual Significance of Zan par John Clarke—Non-Sculptural Metalworking in Eastern Tibet 1930–2003 Shunzo Onoda—De’u dmar dge bshes’s Method of Compounding Colours: Lac-dye Brown, Vermilion Brown and the Colours Derived from Them Kimiaki Tanaka—On the Tradition of the Vairocanāsambodhi-sūtra and the Garbhamaṇḍala in Tibet Serinity Young—The Buddhist Discourse on Gender in Tibetan Medical Iconography Sjoerd De Vries—A Present from the Tzar Knud Larsen—A Newly-Discovered Old Perspective Drawing of Lhasa

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Book SynopsisAssembled on the occasion of Gary Dickson's retirement from the University of Edinburgh following a distinguished career as an internationally acclaimed scholar of medieval social and religious history, this volume contains contributions by both established and newer scholars inspired by Dickson’s particular interests in medieval popular religion, including ‘religious enthusiasm’. Together, the essays comprise a comprehensive and rich investigation of the idea of sanctity and its many medieval manifestations across time (fifth through fifteenth centuries) and in different geographical locations (England, Scotland, France, Italy, the Low Countries). By approaching the theme of sanctity from multiple disciplinary perspectives, this highly original collection pushes forward current academic thinking about medieval hagiography, iconography, social history, women's studies, and architectural history.Table of ContentsAcknowledgements ... vii Gary Dickson’s Bibliography, 1984–2007 .. ix Introduction: Religious Enthusiasm and Charismatic Power in the Middle Ages ... xiii André Vauchez Making Saints The Women Behind Their Saints: Dominican Women’s Promotion of the Cults of Their Religious Companions ... 5 Maiju Lehmijoki-Gardner Gender Trouble in Paradise: The Problem of the Liturgical Virgo .. 25 Felice Lifshitz Locating Sanctity Saint Triduana of Restalrig? Locating a Saint and Her Cult in Late Medieval Lothian and Beyond .. 45 Helen Brown The Architectural Framework for the Cults of Saints: Some Scottish Examples ... 71 Richard Fawcett Seeing Sanctity The Holy and the Unholy: Analogies for the Numinous in Later Medieval Art ... 101 Debra Higgs Strickland The Measure of the Virgin’s Foot ... 121 Michael Bury Living Image of Pity: Mimetic Violence, Peace-Making and Salvifi c Spectacle in the Flagellant Processions of the Later Middle Ages .. 135 Mitchell B. Merback Society and the Sacred Perceptions of Relics: Civic Religion in Late Medieval Bruges .. 185 Andrew Brown Constructing Anglo-Saxon Sanctity: Tradition, Innovation and Saint Guthlac ... 207 Alaric Hal l List of Contributors .. 237 Index ... 239

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Book SynopsisThis study presents the Tondo Doni to the new Florentine republic as a model of the 'great sacrament' of marriage from the New Testament book of Ephesians. Following fifteenth-century theology, Michelangelo portrayed Mary as a humble wife dominated and possessed by a virile guardian Joseph, the couple united as if ‘two in one flesh’. To compensate for their symbolic propinquity, the painter cast her as a paragon of virginity, a muscular mulier fortis. In order to keep this virago in her place, Michelangelo coupled the Virgin in spiritual union with Christ, maenad-Psyche to bacchic Eros, attempting to mystify her social subordination into self-sacrificing love via Ficinian commentary and Saint Paul. Then, firing the Doni infant’s vehemence with a distinctly violent strain of Christian love, the painter turned to Dante’s rime petrose to continue the implied action and authorize a new painterly style, a sculptural stile aspro. Brill's Studies on Art, Art History, and Intellectual History, vol. 1Table of ContentsList of Illustrations Acknowledgements Introduction 1. Prime nozze: Generation 2. Seconde nozze: Regeneration 3. Così nel mio parlar vogli’ esser aspro Illustrations Bibliography Index

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Book SynopsisThe relationship between medieval animal symbolism and the iconography of animals in the Renaissance has scarcely been studied. Filling a gap in this significant field of Renaissance culture, in general, and its art, in particular, this book demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised under the veil of genre, religious or mythological narrative and scientific naturalism. An extensive introduction, dealing with relevant medieval and early Renaissance sources, is followed by a series of case studies that illustrate ways in which Renaissance artists revived conventional animal imagery in unprecedented contexts, investing them with new meanings, on a social, political, ethical, religious or psychological level, often by applying exegetical methodology in creating multiple semantic and iconographic levels. Brill's Studies on Art, Art History, and Intellectual History, vol. 2Trade Review"...a fascinating and erudite iconographical study.... the scholarship is exemplary. The book is well-written in a lively and engaging style, it is logically structured, beautifully illustrated, with an excellent index, select bibliography and epilogue. The book provides an extremely useful starting point for anyone whose work touches on animals and their meanings in Renaissance culture." Erin Campbell, Renaissance Quarterly, 62:912–913, Fall 2009Table of ContentsList of Illustrations Acknowledgements Introduction I. THE HERITAGE AND SOURCES 1. Medieval Sources of Renaissance Animal Symbolism Concealing the Tracks: The Physiologus and Bestiary Tradition A Monkey on the Roof: Animal Moralizations in Exempla Literature and Sermons Animal Moralizations in Medieval Encyclopedias The Psychomachia Tradition and Images of Mounted Vices 2. Renaissance Naturalists and Animal Symbolism: Fact and Fantasy Bestiaries of the Fifteenth Century: The Monsters of Pier Candido Decembrio’s De animantium naturis The Timid Hare and Lustful Camel: Leonardo da Vinci’s Bestiary Natural History in the Sixteenth Century 3. Emblematic Literature and Related Sources Andrea Alciato’s Emblematum Libellus: Its Sources and Influence The Symbola et emblemata of Joachim Camerarius The Traditional and Retrospective Aspect of the Renaissance Emblem II. CASE STUDIES 4. The Birds and Animals of Carpaccio’s Miles Christianus 5. The Enigma of Carpaccio’s Venetian Ladies 6. Animals in the Paintings of Titian: A Key to Hidden Meanings 7. Titian’s London Allegory and the Three Beasts of his Selva Oscura 8. Animal Heads and Hybrid Creatures: The Case of the San Lorenzo Lavabo and its Sources 9. Andrea del Sarto’s Madonna of the Harpies and the Human-Animal Hybrid in the Renaissance 10. The Ambivalent Scorpio in Bronzino’s London Allegory Epilogue Select Bibliography Index

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Book SynopsisThis volume of collected essays brings together for the first time the range of Winter’s pioneering studies related to Neo-Assyrian relief sculpture and seals, Phoenician and Syrian ivory and bronze production, and inter-polity connections across the various cultures of first millennium B.C.E. from the Aegean to Iran. Consistent threads are an emphasis on the potential for art historical analysis to yield ‘history’ in the broadest sense; the importance of making the theoretical frame of interpretation explicit; and the necessity of textual evidence being brought to bear upon elements of formal analysis and archaeological context. "These beautifully produced volumes bring together essays written over a 35-year period, creating a whole that is much more than the sum of its parts...No library should be without this impressive collection." J.C. ExumTable of ContentsTHE ASSYRIAN PALACE AND RELIEF CARVING Chapter One: Royal Rhetoric and the Development of Historical Narrative in Neo-Assyrian Reliefs Chapter Two: Art in Empire: The Royal Image and the Visual Dimensions of Assyrian Ideology Chapter Three: Le Palais imaginaire: Scale and Meaning in the Iconography of Neo-Assyrian Cylinder Seals Chapter Four: Ornament and the “Rhetoric of Abundance” in Assyria BRONZE AND IVORY/LUXURY GOODS Chapter Five: Phoenician and North Syrian Ivory Carving in Historical Context: Questions of Style and Distribution Chapter Six: Carved Ivory Furniture Panels from Nimrud: A Coherent Subgroup of the North Syrian Style Chapter Seven; Is There a South Syrian Style of Ivory Carving in the Early First Millennium b.c.? Chapter Eight: North Syria as a Bronzeworking Centre in the Early First Millennium b.c.: Luxury Commodities at Home and Abroad Chapter Nine: North Syrian Ivories and Tell Halaf Reliefs: The Impact of Luxury Goods upon “Major” Arts Chapter Ten: Establishing Group Boundaries: Toward Methodological Refinement in the Determination of Sets as a Prior Condition to the Analysis of Cultural Contact and/or Innovation in First Millennium b.c.e. Ivory Carving INTERACTIONS OF TIME AND SPACE Chapter Eleven: Perspective on the “Local Style” of Hasanlu IVB: A Study in Receptivity Chapter Twelve: On the Problems of Karatepe: The Reliefs and Their Context Chapter Thirteen: Art as Evidence for Interaction: Relations between the Assyrian Empire and North Syria Chapter Fourteen: Carchemish ša kišad puratti Chapter Fifteen: Homer’s Phoenicians: History, Ethnography, or Literary Trope? [A Perspective on Early Orientalism]

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Book SynopsisVolume 6, in Walter Spink's detailed analysis of the creation and development of the Ajanta caves, during the reign of the emperor Harisena (c.460-c.477) has had a profound and often upsetting impact on the understanding of Indian history in the so-called Golden Age. The author contends that through the discipline of Art History one can in fact change the established view of cultural developments in the crucial "Classic Age" (5th Century CE). One of his major aims is to prove that it was the Vakatakas, under the emperor Harisena, and not the Guptas, that brought Indian culture to its apogee in the late 470s and to show that by analyzing and organizing Ajanta's "defining feature" in revealing developmental sequences, one can support, with specifics, the revolutionary (but now increasingly accepted) "short chronology" for which the author is well known. These "defining features" range from the changing types of Buddha images and living arrangements for the monks, to the precise analysis of the evolution of pillars, doorways, and excavation techniques. The volume also includes, at the start, a discussion of the transforming effect of competition, and finally war, as a key to Ajanta's highly driven development, its florescence, and finally its sad demise.Trade Review"there is no doubt that his work represents a huge contribution to the understanding of the site. (...) certainly the most detailed study of the making of the caves ever conducted." William Dalrymple, New York Review of Books (October 2014)

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Book SynopsisOne of the most magnificent and enduring themes in Chinese painting history can be found depicted in Daoist temples from the local village up to the very capital, viz., the paintings of the Heavenly Court (chaoyuan tu). Surprisingly, its images have remained largely unstudied in Western scholarship. Drawing on a comparative study of four complete sets of wall paintings dating back to the thirteenth and fourteenth centuries (the oldest examples), and their related images, painting criticism, stele inscriptions, and Daoist ritual manuals, the author offers the first comprehensive study of the historical development, iconography, ritual context, methods of mural design, and the personalisations made by patrons of the four Heavenly Court paintings.Trade Review'Gesterkamp’s dense and intensively researched book is a thoroughgoing study of paintings of the Heavenly Court (chaoyuan tu) in thirteenth- and fourteenth-century China. (...)This book is a rich study of the complex relationship between image making and Daoist ritual.' Kate A. Lingley, University of Hawai’i at Manoa, Religious Studies Review, 38,2

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Book SynopsisThis book offers the first comprehensive study of Byzantine influence on the art and iconography of East Central Europe. Petr Balcárek focuses on the Byzantine cultural and religious legacy in the Czech lands, thereby bringing to light rarely seen images and presenting fresh hypotheses based on newly-explored theological interpretations and historical evidence. Including a discussion of the Czech and Slovak historiography on Byzantine studies, the work analyses significant artistic and iconographical artefacts in light of the intricate historical and political relationships that shaped Byzantine presence in these territories, comparing them with similar objects from other areas of Byzantine influence in order to draw wide-reaching conclusions.

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Book SynopsisMedieval Jewelry and Burial Assemblages in Croatia analyzes the Croatian archaeological heritage from the 8th to the 15th century, consisting mostly of jewelry (earrings) findings from cemeteries. Stratigraphy is used to establish horizons and phases of material culture, as well as the structure of the burial chambers. All in comparison with materials from neighboring regions of Europe.Trade Review"[This book] is focused on analysis of so-called 'Old-Croat' medieval cemeteries on the Adriatic coast and deep hinterland, with the author aiming to redefine the existing chronologies of those cemeteries through assessment of grave architecture, cemeteries and grave assemblage - with earrings a particular focus. This is a poorly known field as most of the existing literature is written in Croatian, and so this book, if anything, is important for making this field accessible for a wider reading audience. Sokol offers a meticulous analysis of 16 selected cemeteries, revealing an excellent knowledge of the sites and the existing (Croatian) literature." Danijel Dzino, Macquarie University, in: Medieval Archaeology, 61/1 (2017), pp. 194-195.Table of ContentsContents Abbreviations x Introduction 1 part 1 Graves and Material Culture 1 A History of Research 5 The Beginning of Excavations—The First Finds 5 First Classification of Artefacts 5 Modern Research 7 Recent Research (1989–2012) 13 2 Cemeteries and Material Culture 17 Spatial, Temporal and Cultural Characteristics 17 Key Cemeteries 17 3 Cemetery Stratigraphy and the Classification of Material Culture 30 Methodology 30 Cemetery Analysis 31 Relative Chronology and the Interpretation of Groups 82 4 Cemetery Horizons and Material Culture Phases 88 Cemetery Horizons 89 First or Early (Pagan) Horizon (±795–850/855) 89 Second or Middle (Christian) Horizon (}850/855–1090/1110) 93 Third or Late Horizon (±1090/1110–1450) 95 5 The Development of Material Culture: Earrings and Their Evolution 99 PHASE I: Early or Pagan—±?795–850/855 99 PHASE II: Classical—± 850/855–1000 102 PHASE III: Interim ±1000–1090/1110 107 PHASE IV: Late (ca. 1110–1450) 110 6 Grave Architecture 114 General Remarks 114 Interpretation and General Remarks 1 Croat Burial Rites and Belief System 123 Material Culture and Non-Christian Spirituality among Croats—Its Duration and Cessation 124 2 Stone Cists: Late Antique or Early Medieval? 126 3 Burial Customs 129 4 Burial Horizons and Churches 132 5 Cemeteries between the Mountains and the River Sava 136 part 2 Earrings 1 Earrings as Grave Goods 141 List Sites with Earring Finds 142 2 Medieval Earrings in Croatia 144 Omega-shaped Earrings (no. “1”) 144 Plain Links 144 Plain Links with Pseudo S-loop and Clasp (no. “2”) 144 Plain Links with Thinner Hoop and Spiral Cone Ending (no. “3”) 145 Links with Three Interlaced Pendants on the Lower Part of the Hoop and Spiral Hoops on the Links (no. “4”) 152 Earrings with Grape-shaped Pendant with Filigree Ornament (no. “5”) 153 Earrings with Stylized Ear-of-wheat Spike (no. “6”) 158 Plain Links with Thinner Hoop, with Loop and Clasp (no. “7”) 159 Ancient-looking Earrings with Oppositely Placed Buds (no. “8”) 159 Ancient-looking Temple Pendants with Three Rings on the Link and Filigree Ornament (no. “9”) 166 Ancient-looking Earrings with Floral, Omega-shaped Ornaments (no. “10”) 167 Triple-beaded Earrings or Temple Pendants with Bell-shaped Calotte (no. “11”) 167 Finely Cast Grape-shaped Earrings (no. “12”) 174 Filigree Earrings with Almond-shaped Pendant (no. “13”) 174 Earrings with Single, Smooth Beads (no. “14”) 175 Tetra-beaded Temple Pendants with Filigree Ornament (no. “15”) 175 Earrings or Temple Pendants with Single Beads with Filigree Ornament (no. “16”) 186 Earrings or Temple Pendants with Intricately Fashioned, Single Beads with Filigree Ornament (no. “17”) 186 Earrings or Temple Pendants with Single, Smooth Beads (no. “18”) 187 Earrings or Temple Pendants with Twin Beads Decorated with Filigree Ornament (no. “19”) 187 Plain Links with Straight Open Ends (no. “20”) 193 Earrings with Single, Round Beads (no. “21”) 193 Earrings with Three Round Beads (no. “22”) 202 Temple Pendants with Single, Bi-conical Beads between Two Loops (no. “23”) 202 Temple Pendants with Three, Bi-conical Beads Arranged in a Y-shaped Pattern (no. “24”) 202 Earrings Made of Thin Interwoven Wire (no. “25”) 203 Earrings with Thicker Links and S-shaped Ends (no. “26”) 212 Earrings or Temple Pendants with Three Joints (no. “27”) 212 Earrings with Three Joints Decorated with Filigree (no. “28”) 213 Earrings with Filigree and Granulated Ornament (no. “29”) 213 Earrings with Three, Equally Sized, Round Beads Decorated with Filigree (no. “30”) 222 Triple-beaded Earrings with a Larger Central Bead and Filigree Decoration (no. “31”) 223 Table of Absolute Chronology for Earrings—31 Basic Types 229 Conclusion 232 List of Cited References 237 Index of Proper Names 251 Index of Geographical Names 253

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Book SynopsisWhat is art and what is its role in a China that is changing at a dizzying speed? These questions lie at the heart of Chinese contemporary art. Subversive Strategies paves the way for the rebirth of a Chinese aesthetics adequate to the art whose sheer energy and imaginative power is subverting the ideas through which western and Chinese critics think about art. The first collection of essays by American and Chinese philosophers and art historians, Subversive Strategies begins by showing how the art reflects current crises and is working them out through bodies gendered and political. The essays raise the question of Chinese identity in a global world and note a blurring of the boundary between art and everyday life.Table of ContentsPART ONE HERE AND NOW Crisis Subversive Strategies in Chinese Avant-garde Art Mary Bittner Wiseman Political Pop Art and the crisis of originality Yi Ying Contemporary Art in China: ‘Anxiety of Influence’ and the Creative Triumph of Cai Guo-Qiang Laurie Adams Working It Out Image-Fabrication and Contemporary Photography in China Wang Chunchen Chinese Contemporary Art: From De-Chineseness to Re-Chineseness Liu Yuedi Chinese without Chineseness: Chinese Contemporary Art from Cultural Symbol to International Style Peng Feng Calligraphic Expression and Contemporary Chinese Art: Xu Bing’s pioneer experiment Liu Yuedi Through the Body The Political Body in Chinese Art Curtis L. Carter Gendered Bodies in Contemporary Chinese Art Mary Bittner Wiseman The Second Sex and Contemporary Chinese Women’s Art: A Case Study on Chen Lingyang’s Work He Jinli Expression Extreme and History Trauma in Women Body Art in China: The Case of He Chengyao Eva Kit Wah Man PART TWO HISTORY AND GEOGRAPHY Classical Metaphysics in Chinese Art Abraham Kaplan Water and Stone: On the Role of Expression in Chinese Art Mary Bittner Wiseman Natural Beauty and Literati Strokes: Shi Tao, Merleau-Ponty and the Practice of Painting David A. Brubaker Paths to the Middle: A Tentative Theory for Chinese Contemporary Art Peng Feng Recent History Current State of Chinese Art Wang Chunchen Avant-garde in Chinese Art Curtis L. Carter Post-colonial and Contemporary Art Trends in Taiwan Pan Fan Experimental Painting and Painting Theories in Colonial Hong Kong (1940-1980): Reflections on Cultural Identity Eva Kit Wah Man East and West The Shape of Artistic Pasts: East and West Arthur C. Danto How to Misunderstand Chinese Art: Seven Examples David Carrier Art and Globalization: Then and Now Noel Carroll Concept, Body and Nature: After the End of Art and the Rebirth of Chinese Aesthetics Liu Yuedi

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Book SynopsisThe exhibition "Meisterwerke muhammedanischer Kunst" that took place in Munich in 1910 marked a turning point in the approach to Islamic Art. The show attempted to break free of Orientalism and exotic fantasies and, in doing so, set a new standard for the reception of Islamic art in Europe. Moreover, naming the Islamic artefacts masterpieces, it layed claim to bestow upon Islamic art “a place equal to that of other cultural periods”. This book is the first comprehensive study on this path-breaking exhibition. It includes a wealth of unpublished material and numerous novel ideas on the subject and addresses the exhibition’s historical context, organization, realization and display as well as its reception in the West and its later influence on the study of Islamic art.

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Book SynopsisThis book is not designed to define the sacred. It is, rather, a bringing together of case histories (a rich, varied collection from medieval, early modern and nineteenth-century contexts in England and Wales) that goes beyond familiar paradigms to explore the dynamic, protean interaction, in different times and places, between sacred space and text. Essentially an interdisciplinary enterprise, it focuses a range of historical and critical methodologies on that complex process of transformation and transmission whereby spiritual intuitions, experiences and teachings are made palpable ‘in art and architecture, poetry and prayer, in histories, scriptures and liturgies, even landscapes. So the sacred, variously constructed and inscribed, makes itself felt ‘on the pulse’; is a presence, a voice even now not stilled.Trade Review'Sacred text – Sacred space' is a fascinating collection, in which a series of absorbing insights into specific moments when space and text jointly established a sense of the sacred are woven subtly into a compelling narrative about how concepts of the sacred have altered between the early medieval period and the twentieth century. - Chloe Kathleen Preedy - University of Cambridge in: Culture and Religion 2012Table of ContentsContributors Include: Richard Chartres, Joseph Sterrett, Madeleine Gray, Thomas Pickles, Laura Varnam, Roy Eriksen, Richard Wilson, Graham Parry, Helen Wilcox, Peter Thomas, Dennis Taylor, Allan Doig, William Whyte, Susanna Avery-Quash, Patrick Sherry.

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Book SynopsisThe twenty-nine Buddhist caves near Ajanta form a devotional complex which ranks as one of the world's most startling achievements, created at the very apogee of India's Golden Age. Ajanta: History and Development, appears as part of the series Handbook of Oriental Studies, present the reader with a systematic treatment of all aspects of the site, the result of forty years of painstaking research in situ by Walter M. Spink. Volume one deals with the historical context in which this dramatic burst of pious activity took place under the reign of Vakataka emperor Harisena, (c. 460 – 477 A.D.), and with the sudden halt of activity almost immediately following the death of the emperor. In surprising detail the relative and absolute chronology of the site can be established from a careful reading of the physical evidence, with consequences for our dating of India’s Golden Age. Ajanta, it appears, is a veritable illustrated history of Harisena’s times, crowded with information on its history, development and how it was used. Originally published in hardcover

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Book SynopsisIn the study of Indian art prior to the Mughal period, portraiture has so far been much neglected, when its existence has not simply been denied. This book is an attempt to reassess this issue, by showing that portraits have existed in great number in early India, since probably the first artistic achievements. Through a close scrutiny of sculpted and (more rarely) painted images brought together with textual and epigraphical references, it aims at highlighting the specificities of Indian portraiture, its relationship with divine images and, consequently, at understanding the development of Indian imagery. It questions also the social and religious implications related to this issue.

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Book SynopsisThis volume approaches the problem of the canonical “center” by looking at art and architecture on the borders of the medieval world, from China to Armenia, Sweden, and Spain. Seven contributors engage three distinct yet related problems: margins, frontiers, and cross-cultural encounters. While not displaying a unified methodology or privileging specific theoretical constructs, the essays emphasize how strategies of representation articulated ownership and identity within contested arenas. What is contested is both medieval (the material evidence itself) and modern (the scholarly traditions in which the evidence has or has not been embedded). An introduction by the editors places the essays within historiographic and pedagogical frameworks. Contributors: J. Caskey, K. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.Table of ContentsIntroduction: Jill Caskey, Adam S. Cohen and Linda Safran, Surveying the Borders of Medieval Art …i 1. Katrin Kogman-Appel, Jewish Art and Cultural Exchange: Theoretical Perspectives …1 2. Cynthia Robinson, Towers, Birds and Divine Light: The Contested Territory of Nasrid and “Mudéjar” Ornament … 27 3. Jill Caskey, Stuccoes from the Early Norman Period in Sicily: Figuration, Fabrication and Integration … 80 4. Ethel Sara Wolper, Khiḍr and the Changing Frontiers of the Medieval World … 120 5. Christina Maranci, Locating Armenia … 147 6. Jennifer Purtle, The Far Side: Expatriate Medieval Art and Its Languages in Sino-Mongol China … 167 7. Nancy L. Wicker, Would There Have Been Gothic Art Without the Vikings? The Contribution of Scandinavian Medieval Art …198

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Book SynopsisJulian Gardner’s preeminent role in British studies of the art of the 13th and 14th centuries, particularly the interaction of papal and theological issues with its production and on either side of the Alps, is celebrated in these studies by his pupils. They discuss Roman works: a Colonna badge in S. Prassede and a remarkably uniform Trinity fresco fragment, as well as monochrome dado painting up to Giotto, Duccio's representations of proskynesis, a Parisian reliquary in Assisi, Riminese painting for the Franciscans, the tomb of a theologian in Vercelli, Bartolomeo and Jacopino da Reggio, the Room of Love at Sabbionara, the cult of Urban V in Bologna after 1376, Altichiero and the cult of St James in Padua, the orb of the Wilton Diptych, and Julian Gardner’s career itself. The contributors to the volume are Serena Romano, Jill Bain, Claudia Bolgia, Louise Bourdua, Joanna Cannon, Roberto Cobianchi, Anne Dunlop, Jill Farquhar, Robert Gibbs, Virginia Glenn, Dillian Gordon, John Osborne and Martina Schilling.Table of ContentsList of Contributors ... vii List of Plates, Figures and Illustrations ... ix Julian Gardner ... xiv Serena Romano Bibliography of Julian Gardner’s Published Works ... xxiii Joanne Anderson Introduction ... 1 Louise Bourdua and Robert Gibbs 1.Signifying Absence: Experiencing Monochrome Imagery in Medieval Painting ... 5 Jill Bain 2.A Possible Colonna Family Stemma in the Church of Santa Prassede, Rome ... 21 John Osborne 3.Small Worlds: The Orbs in the Westminster Retable and the Wilton Diptych ... 31 Dillian Gordon 4.Duccio and Devotion to the Virgin’s Foot in Early Sienese Painting ... 39 Joanna Cannon 5.A Royal Gift from Paris to Assisi: The Evolution of Design and Iconography circa 1300 ... 62 Virginia Glenn 6.The Original Setting and Historical Context of the Fourteenth-Century ‘Anthropomorphic Trinity’ of the Museo di Roma at Palazzo Braschi ... 83 Claudia Bolgia 7.Patronising Poverty: Devotional Imagery and the Franciscan Spirituals in Romagna and the Marche ... 99 Jill Farquhar 8.Celebrating the Scholar and Teacher: The Tomb of Thomas Gallus at Sant’Andrea in Vercelli (Mid 14th Century) ... 117 Martina Schilling 9.Bartolomeo and Jacopino da Reggio’s Brera Triptych: A Possible Source for Its Provenance ... 144 Roberto Cobianchi 10.The Look of Love ... 154 Anne Dunlop 11.Bologna and the Popes: Simone dei Crocefissi’s Portraits of Urban V ... 166 Robert Gibbs 12.Some Pilgrimage Sources for Altichiero ... 190 Louise Bourdua Index ... 201

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Book SynopsisPresenting a large body of evidence for the first time, this book offers a comprehensive treatment of Nubian architecture, sculpture, and minor arts in the period between 300 BC-AD 250. It focuses primarily on the Nubian response to the traditional pharaonic, Hellenistic/Roman, Hellenizing, and “hybrid” elements of Ptolemaic and Roman Egyptian culture. The author begins with a history of Nubian art and a critical survey of the literature on Ptolemaic and Roman Egyptian art. Special chapters are then devoted to the discussion of the Egyptian-Greek interaction in the arts of Ptolemaic Egypt, the place of Egyptian Hellenistic and Hellenizing art within the oikumene, the pluralistic visual world of Ptolemaic and Roman Egypt, as well as on the specific genre of terracotta sculpture. Utilizing examples from Meroe City and Musawwarat es Sufra, the author argues that cultural transfer from Ptolemaic and Roman Egypt to Nubia resulted in an inward-focused adaptation. Therefore, the resulting Nubian art from this period expresses only those aspects of Egyptian and Greek art that are compatible with indigenous Nubian goals.Table of ContentsIntroduction: The Nubian Scene Chapter One: Ergamenes, Aktisanes, and the Modern Discovery of Hellenizing Art in Meroe Chapter Two: Reception Without Understanding? Chapter Three: An Elusive Model: Images of Egypt’s Multicultural Identity in the Ptolemaic and Roman Periods Chapter Four: Early Contacts With Ptolemaic Egypt and the Early Imports Chapter Five: Hellenizing Architecture and Sculpture in Meroe City Chapter Six: The Great Enclosure at Musawwarat es Sufra Chapter Seven: From Mass-Product to Luxury and Back. Decorated Fine Pottery and Meroitic Vase Painting Chapter Eight: The Hellenistic Egyptian Style Kiosk at Naqa or “Acculturation” Sidetracked Chapter Nine: Media and Messages. The Autonomy of Nubian “Acculturation”

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Book SynopsisFounded on richly stylized expression, Anime has developed into an art with a high degree of sophistication that is comparable to that of the traditional theatrical forms of Noh, Bunraku, and Kabuki. By analyzing Anime through the lens of traditional Japanese theater, the patterns and practices in Anime can be mapped out. In The Anime Paradox, Stevie Suan utilizes this framework to reveal Anime’s distinct form, examining and delineating the particular formal qualities of Anime’s structure, conventions, aesthetics, and modes of viewing. However, the comparison works both ways—just as Japanese theater can give us analytical insights into Anime, Anime can enrich our understanding of Japanese classical theater.

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Book SynopsisJerusalem, in her central role for Judaism, Christianity and Islam, became the setting for – or even the protagonist of – oral, written and pictorial narratives. These range from the Bible and Apocrypha, historical and hagiographical texts and legends to accounts of physical, imaginary or spiritual pilgrimage, and related images. Places in and around the city have been associated with narratives and vice versa. This collection of essays discusses the complex entanglements between Jerusalem, as a continuously redefined space, and her narratives, viewed from broad methodological and interdisciplinary perspectives. Studying the manifold ways in which narrative, space and place interact, is fundamental to the understanding of ‘loca sancta traditions’ and the processes of their location and translocation. Contributors are Shulamit Laderman, Gustav Kühnel, Serge Ruzer, George Gagoshidze, Alexei Lidov, Bianca Kühnel, Ariane Westphälinger, Robert Ousterhout, Eva Frojmovic, Katrin Kogman-Appel, Claudia Olk, Ingrid Baumgärtner, Pnina Arad, Annette Hoffmann, Gunnar Mikosch, Barbara Baert, Yamit Rachman-Schrire, Robert Schick, Tim Urban, Mila Horký, Silvan Wagner, Rachel Milstein, Anastasia Keshman and Kai Nonnenmacher.Table of ContentsPreface ...ix List of Illustrations ...xxi Photograph Credits ...xxxiii List of Contributors ...xxxvii PART ONE: DISPLACEMENT, DISSEMINATION, REENACTMENT Jewish and Christian Symbolic Imaging of Jerusalem in the Fourth Century Shulamit Laderman ...3 Architectural mise-en-scene and Pictorial Turns in Jerusalem Gustav Kuhnel† ...21 Jerusalem as Place of Remote Exile: An Inverted Sacred Geography in the Syriac Cave of Treasures Serge Ruzer ...33 Mtskheta–Georgian Jerusalem, Svetitskhoveli George Gagoshidze ...47 A Byzantine Jerusalem.The Imperial Pharos Chapel as the Holy Sepulchre Alexei Lidov ...63 Jerusalem between Narrative and Iconic Bianca Kuhnel ...105 PART TWO: SITE, MEMORY, AUTHENTICATION Real-geographische Gegenwart und biblische Vergangenheit. Die Beschreibung Jerusalems in fruh- und hochmittelalterlichen Pilgerberichten Ariane Westphalinger ...127 The Memory of Jerusalem: Text, Architecture, and the Craft of Thought Robert Ousterhout ...139 Translating Jerusalem: Jewish Authenticators of the Cross Eva Frojmovic ...155 The Temple of Jerusalem and the Hebrew Millennium in a Thirteenth-Century Jewish Prayer Book Katrin Kogman-Appel ...187 PART THREE: MAPPINGS IN TEXTS AND IMAGES The Poetics of Jerusalem in Mandeville’s Travels Claudia Olk ...211 Erzahlungen kartieren.Jerusalem in mittelalterlichen Kartenraumen Ingrid Baumgartner ...231 Mapping Divinity: Holy Landscape in Maps of the Holy Land Pnina Arad ...263 PART FOUR: VOIDS—BETWEEN ABSENCE AND PRESENCE Die Mauern von Jerusalem.Ein Leerraum als Erzahlraum Annette Hofffmann ...279 Von der Anwesenheit einer Abwesenden.Jerusalem in der judischen Bildkultur des Mittelalters Gunnar Mikosch ...301 Noli me tangere.Narrative and Iconic Space Barbara Baert...323 PART FIVE: STONES AND BUILDINGS IN JERUSALEM Evagatorium in Terrae Sanctae […]: Stones Telling the Story of Jerusalem Yamit Rachman-Schrire ...353 Christian Identifijications of Muslim Buildings in Medieval Jerusalem Robert Schick ...367 PART SIX: PICTORIAL AND POETIC SPACES Via Crucis.Verortet Tim Urban ...393 Jerusalem im Bild—Bilder von Jerusalem? Die Pilgerfahrt von Kurfurst Friedrich III.ins Heilige Land 1493 und ihre Darstellungen Mila Horky ...415 Irdisches und himmlisches Jerusalem als Auslagerungsort einer Minnereligion im Herzmaere Konrads von Wurzburg Silvan Wagner ...443 Jerusalem in Islamic Painting: an Object in a Narrative Space Rachel Milstein ...463 Night Flight to Jerusalem—a Narrative for a Far-Away Holy Place Anastasia Keshman ...477 Gefahrdete Einheit.Zur Raumkonzeption in Torquato Tassos Gerusalemme liberata Kai Nonnenmacher ...495 Index ...517

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Book SynopsisIntermediality, figurability, iconotext, visual exegesis: these are some of the many new ways in which the relationship between text and image has been explored in recent decades. Scholars have benefited from theoretical work in the fields of anthropology, psychoanalysis, and semiotics, alongside more traditional fields such as literature, art history and cultural history. Focusing on religious texts and images between 1400 and 1700, the essays gathered in this volume contribute to these developments by grounding their case studies in methodology. In considering various relations between the visual and the verbal, the editors have adopted the broadest position possible, emphasizing the phenomenological point of view from which the objects under discussion are examined. Contributors to this volume: Ralph Dekoninck, Anna Dlabačová, Grégory Ems, Ingrid Falque, Agnès Guiderdoni, Walter S. Melion, Kees Schepers, Paul J. Smith, and Elliott D. Wise.Table of ContentsList of Illustrations Notes on Editors Notes on Contributors 1 Introduction  Ingrid Falque and Agnès Guiderdoni 2 Framing the Text-Image Relationship(s) in Henry Suso’s Exemplar  Ingrid Falque 3 How to Read the Drawings of Gielis vander Hecken (1491–1538)  Kees Schepers 4 The Adventures of the Soul in a Wonderful Emblematic Manuscript of the Belgium Royal Library  Grégory Ems 5 Sese oblectari in dies: Tropes of Materiality and Artisanship in the Paradisus precum selectarum (1610) of the Cistercian Sub-prior Martin Boschman  Walter S. Melion 6 “Hidden Sons”, Baptism, and Vernacular Mysticism in Rogier van der Weyden’s St. John Triptych  Elliott D. Wise 7 The Art of Observance. Jan Provoost’s Diptych of a Franciscan Friar as an Exponent of the Spirituality and Position of the Franciscan Order in the Low Countries, c.1520  Anna Dlabačová 8 Jan Brueghel the Elder’s First Paradise Landscape (1594)  Paul J. Smith

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Book SynopsisMary Magdalene, Iconographic Studies from the Middle Ages to the Baroque examines the iconographic inventions in Magdalene imagery and the contextual factors that shaped her representation in visual art from the fourteenth to the seventeenth centuries. Unique to other saints in the medieval lexicon, images of Mary Magdalene were altered over time to satisfy the changing needs of her patrons as well as her audience. By shedding light on the relationship between the Magdalene and her patrons, both corporate and private, as well as the religious institutions and regions where her imagery is found, this anthology reveals the flexibility of the Magdalene’s character in art and, in essence, the reinvention of her iconography from one generation to the next.Trade Review"Unlike many other anthologies, the themes here are well conceived and, amazingly enough, the individual essays actually consistently address the relevant themes. Moreover, the numerous cross-references between the contributions give the volume a highly cohesive character." Lynn Jacobs, University of Arkansas, Historians of Netherlandish Art Newsletter and Review of Books "This anthology succeeds in revealing the flexibility of the Magdalene's character in visual art; she is a lens through which evolving theories about women's behaviour and education can be viewed, as well as a mirror for observing church teachings, monastic ideals, personal devotion, and politics in various cultural contexts." Marjorie Harrington, Unievrsity of Notre Dame, Sixteenth Century Journal XLV/1 "The sixteen essays in this volume examine the iconographic interventions of Mary Magdalene imagery and the contextual factors that shaped her representation in visual art from the 14th to the 17th century. They give special attention to how the images were altered over time to satisfy the changing needs or her patrons as well as her audience." New Testament Abstracts 57/3Table of ContentsAcknowledgements... List of Contributors... List of Illustrations... Foreword... Susan Haskins Introduction... Michelle Erhardt and Amy Morris PART I ICONOGRAPHIC INVENTION IN THE LIFE OF MARY MAGDALENE 1. The Magdalene as Mirror: Trecento Franciscan Imagery in the Guidalotti-Rinuccini Chapel, Florence. Michelle A. Erhardt 2. Mary Magdalene and Her Dear Sister: Innovation in the Late Medieval Mural Cycle of Santa Maddalena in Rencio (Bolzano). Joanne W. Anderson 3. The German Iconography of the Saint Magdalene Altarpiece: Documenting Its Context. Amy M. Morris PART II MARY MAGDALENE AS THE REFORMED SINNER 4. The Printed Penitent: Magdalene Imagery and Prostitution Reform in Early Modern Italian Chapbooks and Broadsheets. Rachel Geschwind 5. Tintoretto's New Vision of Mary Magdalene and Mary of Egypt at the Scuola Grande di San Rocco, Venice. Elizabeth Carroll Consavari 6. Irony and Realism in Caravaggio's Penitent Magdalene. Patrick Hunt PART III NOLI ME TANGERE: MARY MAGDALENE, THE WITNESS 7. The Gaze in the Garden: Mary Magdalene in the Noli me tangere Barbara Baert 8. Michelangelo's Noli me tangere for Vittoria Colonna, and the Changing Status of Women in Renaissance Italy. Lisa M. Rafanelli 9. Woman, Why Weepest Thou? Rembrandt's 1638 Noli me tangere as a Dutch Calvinist Visual Typology. Bobbi Dykema PART IV PATRONAGE AND PRIVILEGE: THE MAGDALENE AS GUARDIAN AND ADVOCATE 10. The Magdalene and 'Madame': Piety Politics and Personal Agenda in Louise of Savoy's Vie de la Magdalene. Barbara J. Johnston 11. Mary Magdalene Between Public Cult and Personal Devotion in Correggio's Noli me tangere. Margaret Morse 12. Reflections on a Glass Madeleine Penitente Jane Eade PART V FUSION AND FLEXIBILITY: THE MAGDALENE'S ROLE TRANSFORMED 13. Exorcism in the Iconography of Mary Magdalene. Andrea Begel 14. "Woman, Why Weepest Thou?" Mary Magdalene, the Virgin Mary and the Transformative Power of Holy Tears in Late Medieval Devotional Painting Vibeke Olson 15. Mary Magdalene and the Iconography of Domesticity. Annette LeZotte 16. Marketing Mary Magdalene in Early Modern Northern European Prints and Paintings. Michelle Moseley-Christian Bibliography Index

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Book SynopsisDoes the design of the Tabernacle in the wilderness correspond to God’s blueprint of Creation? The Christian Topography, a sixth-century Byzantine Christian work, presents such a cosmology. Its theory is based on the “pattern” revealed to Moses on Mount Sinai when he was told to build the Tabernacle and its implements “after their pattern, which is being shown thee on the Mount.” (Exod. 25: 40). The book demonstrates, through texts and images, the motifs that link the Tabernacle and Creation. It traces the long chain of transmission that connects the Jewish and Christian traditions from Syria and ancient Israel to France and Spain from the first through the fourteenth century, revealing new models of interaction between Judaism and Christianity.Table of Contents1. Jewish and Christian Reciprocal Influences 2. The Blueprint of Creation in the Bible and Its Allegorical Interpretations 3. Creation in Christian Works 4. Creation as Interpreted in Jewish Art 5. Visualizing Creation in a Fourteenth-Century Jewish Manuscript 6. The Tabernacle and the Ark of the Covenant 7. The Temple: History and Ideology 8. The Synagogue as a Minor Temple 9. Schematic Models: Forms of Visual Interpretation 10. Imaging of the Tabernacle 11. The Art of Memory: The Sanctuary Its Sacrifices, and Its Cosmic Import 12. Christian Supersession of Jewish Ideas

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Book SynopsisThe Hindu-Buddhist Sculpture of Ancient Kashmir and Its Influences is primarily based on the study of the largely unpublished corpus of sculpture, mostly of stone, in the Sri Pratap Singh Museum in Srinagar, and of other examples in situ elsewhere in the valley. The disparate nature and fragmentary condition of these sculptures as well as their artistic and iconographical influences have for long defied accurate analysis. The method used in the classification of these sculptures is based on close analysis of their style concentrating on recurring features such as facial and physical typology, modelling, dress and ornamentation. Comparisons are made with other examples of Kashmir bronze, ivory and stone sculpture in private and public collections both within India and abroad.

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Book SynopsisThis publication offers a wide-ranging account of the Mongols in western and eastern Asia in the aftermath of Genghis Khan’s disruptive invasions of the early thirteenth century, focusing on the significant cultural, social, religious and political changes that followed in their wake. The issues considered concern art, governance, diplomacy, commerce, court life, and urban culture in the Mongol world empire as originally presented at a 2003 symposium at the Los Angeles County Museum of Art and now distilled in this volume. This collection of 23 papers by many of the main authorities in the field demonstrates both the scope and the depth of the current state of Mongol-related studies and will undoubtedly inspire and provoke further research. The text is profusely illustrated by 30 color and 112 black-and-white illustrations. Contributors are: Sheila S. Blair, Jonathan M. Bloom, Devin DeWeese, Teresa Fitzherbert, Bert G. Fragner, Robert Hillenbrand, Dietrich Huff, Ralph Kauz, Linda Komaroff, Dickran Kouymjian, Mark Kramarovsky, Donald P. Little, Charles Melville, David Morgan, Bernard O'Kane, Judith Pfeiffer, George Saliba, Noriyuki Shiraishi, Marianna Shreve Simpson, Eleanor Sims, John Masson Smith Jr., Abolala Soudavar, Oliver Watson and Elaine Wright.Trade Review“…this is a highly important collection which stresses the significance and fertility of cultural transmission in Mongol Eurasia and particularly its expressions in western Asia.” Michal Biran in MESA Bulletin 41.2 (2007), 204-205.Table of ContentsIntroduction Culture and Commerce in the Mongol World Empire (5 chapters) Lifestyles at the Court of the Ruling Elite (4 chapters) The Arts of the Book in Ilkhanid Iran (5 chapters) The Arts and Artistic Interchange (4 chapters) State and Religion in Ilkhanid Iran (4 chapters) Concluding Remarks Bibliography Color Plates Black and White Figures Index

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Book SynopsisThe growth of princely states in early Renaissance Italy brought a thorough renewal to the old seats of power. One of the most conspicuous outcomes of this process was the building or rebuilding of new court palaces, erected as prestigious residences in accord with the new ‘classical’ principles of Renaissance architecture. The novelties, however, went far beyond architectural forms: they involved the reorganisation of courtly interiors and their functions, new uses for the buildings, and the relationship between the palaces and their surroundings. The whole urban setting was affected by these processes, and therefore the social, residential and political customs of its inhabitants. This is the focus of A Renaissance Architecture of Power, which aims to analyse from a comparative perspective the evolution of Italian court palaces in the Renaissance in their entirety. Contributors are Silvia Beltramo, Flavia Cantatore, Bianca de Divitiis, Emanuela Ferretti, Marco Folin, Giulio Girondi, Andrea Longhi, Marco Rosario Nobile, Aurora Scotti, Elena Svalduz, and Stefano Zaggia.Table of ContentsContents Foreword vii List of Figures x PART 1 Comparative Issues 1 Princes, Towns, Palaces: A Renaissance “Architecture of Power” 3 Marco Folin 2 Medieval Vestiges in the Princely Architecture of the 15th Century 28 Silvia Beltramo 3 The Princely Palace in 15th-Century Italian Architectural Theory 53 Flavia Cantatore 4 Palaces and Palatine Chapels in 15th-Century Italian Dukedoms: Ideas and Experiences 82 Andrea Longhi PART 2 Case Studies 5 “Combining the Old and the New”: The Princely Residences of the Marquises of Saluzzo in the 15th Century 107 Silvia Beltramo 6 The Sforza Castle of Milan (1450–1499) 134 Aurora Scotti 7 Patrician Residences and the Palaces of the Marquis of Mantua (1459–1524) 163 Giulio Girondi 8 The Renewal of Ferrara’s Court Palace under Ercole i d’Este (1471–1505) 187 Marco Folin 9 Architecture of Power: Imola during the Signoria of Girolamo Riario (1473–1488) 216 Stefano Zaggia 10 “Small Mice, Large Palaces”: From Urbino to Carpi 235 Elena Svalduz 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey 263 Emanuela Ferretti 12 The Palace of Nicholas v: Continuity and Innovation in the Vatican Palaces 290 Flavia Cantatore 13 Alfonso i of Naples and the Art of Building: Castel Nuovo in a European Context 320 Bianca de Divitiis 14 The Residences of the Kings of Sicily, from Martin of Aragon to Ferdinand the Catholic 354 Marco Rosario Nobile Bibliography 379 Index of Manuscripts 440 Index of Names 442 Index of Places 461

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Book SynopsisImages of Familial Intimacy in Eastern and Western Art offers a comparative art and socio-historical analysis of selected images of familial intimacy in Asia and Europe from the pre-modern era to the present day based on an examination of the value systems and expectations existing at the time in the regions in which the works were created. A wide variety of images are discussed ranging from family portraits and depictions of the home in seventeenth-century Dutch genre paintings, ukiyoe prints and fusuma sliding wall panels of the Edo period, to familial images made after the Korean War of 1950-53, providing the reader with a rare insight into the evolution East and West of the cultural norms and customs impacting on the family and personal space.Table of ContentsPreface ... vii List of Contributors ... ix List of Figures ... x 1. An Introduction to Interpreting Images of Family, Mother and Child, and the Home ... 1 Nakamura Toshiharu 2. Faith, Family and Politics in Lucas Cranach the Elder’s Holy Kinship Altarpiece ... 54 Hirakawa Kayo 3. Domestic Bliss? Images of the Family and Home in Seventeenth-Century Dutch Genre Art ... 83 John Loughman 4. Changing Images of Childhood: The Children’s Portrait in Netherlandish Art and Its Influence ... 108 Mirjam Neumeister 5. Man and Woman in Ise monogatari-e: Scene Selection in the First Half of the Seventeenth Century ... 132 Yasuda Atsuo 6. Karako Asobi: Images of Chinese Children at Play ... 185 7. The Development of the Doll Festival as Seen in Paintings: Focusing on Edo Period Family Actions ... 218 Miyazaki Momo 8. Images of Children in Modern Art in Taiwan: Public Messages Concealed in Private Depictions ... 249 Li Su-chu 9. Images of the Family in 1950s Korea: The Family as a Metaphor for Repose ... 287 Kim Yisoon Bibliography ... 313 Photo Credits and Sources ... 345 Index ... 347

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Book SynopsisIn Material Culture and Queenship in 14th-century France: The Testament of Blanche of Navarre (1331-1398) Marguerite Keane considers the object collection of the long-lived fourteenth-century French queen Blanche of Navarre, the wife of Philip VI (d. 1350). This queen’s ownership of works of art (books, jewelry, reliquaries, and textiles, among others) and her perceptions of these objects is well -documented because she wrote detailed testaments in 1396 and 1398 in which she described her possessions and who she wished to receive them. Keane connects the patronage of Blanche of Navarre to her interest in her status and reputation as a dowager queen, as well as bringing to life the material, adornment, and devotional interests of a medieval queen and her household.Trade Review"For queenship scholars, Keane’s book is essential reading for both its methodology and its conclusions about the meanings of patronage, politics, and cultural power at court. And it opens fruitful avenues for research into the history of emotions. It will speak to a much wider audience of historians, art historians, and their students, both graduate and advanced undergraduate, who will appreciate her close textual analysis of the testament and her insightful reading of the objects." Theresa Earenfight, Seattle University, in: Renaissance Quarterly 70.4 (2017), pp. 1561-2.Table of ContentsContents Acknowledgements vii List of Figures and Tables ix Notes on Translation, Citation, and Names xi Introduction 1 1 The Life and Patronage of Blanche of Navarre 19 Conflict with the Monks of Saint-Denis 33 Childhood and Marriage 41 Widowhood and Early Commissions 44 The Dowager Queen as Mediator: Charles of Navarre and the Hundred Years War 52 The Dowager Queen at Home and at Court 56 2 The Testament: Legal Document and Sentimental Autobiography 61 3 Books as Evidence to Perpetuate Memory 77 4 Reliquaries, Altarpieces, and Paintings 116 Devotional Spaces within the Household 119 Reliquaries 126 5 Wearable Reliquaries, Metalwork, and Gems 151 The Reliquary Belt of Philip VI 153 Reliquary Brooches 156 Heirloom Diamonds 159 Heirloom Paternoster Beads 166 The Queen’s Crowns and Sealing Ring 169 6 Textiles: Vestments, Wall Hangings, and Clothing 178 Conclusions 202 Appendices: Gifts and Their Recipients 206 1 Gifts of Books 206 2 Gifts of Reliquaries, Altarpieces, and Paintings 212 3 Gifts of Wearable Reliquaries, Metalwork, and Gems 220 4 Gifts of Textiles 226 Bibliography 231 Index 255

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Book SynopsisThe French invaded Algeria in 1830, and found a landscape rich in Roman remains, which they proceeded to re-use to support the constructions such as fortresses, barracks and hospitals needed to fight the natives (who continued to object to their presence), and to house the various colonisation projects with which they intended to solidify their hold on the country, and to make it both modern and profitable. Arabs and Berbers had occasionally made use of the ruins, but it was still a Roman and Early Christian landscape when the French arrived. In the space of two generations, this was destroyed, just as were many ancient remains in France, in part because “real” architecture was Greek, not Roman.Table of ContentsPreface ix Setting the Scene: Algeria in Context...1 1 The French Conquest...14 Introduction...14 Planning & logistics...15 A lack of knowledge...16 A lack of planning...18 Logistics and Supply...20 Political and Military Control...25 The Dépôt de la Guerre and Reconnaissances...29 Occupying the Ground...32 The French as Successors to the Romans...32 Roman Monuments and French Defences...38 Surviving within Roman Structures...41 Agriculture Roman and 19th-century...43 Health and Welfare...48 Civilising the Natives?...48 Fighting the Natives...51 Dealing with Colons and Speculators...55 Colonisation or Abandonment?...58 Reactions to the Occupation...60 Scholars and Commissions...60 A Forgotten Colony and War?...65 The French-Language Press in Paris...66 The Press in Britain and Germany...67 The French-Language Press in Algeria...68 Conclusion...69 2 The Army Establishes Itself, Colonisation Begins...75 The Army, Colonists and Roads...75 Security...76 Building or Repairing the Infrastructure...77 Builders, Competence and Algerian Conditions...77 Forts and Fortresses Roman and French...82 Accommodation for Body and Spirit...86 Byzantine Fortresses and French Scholarship...87 Defences for Arabs and Colons...89 Fountains and Water Supply...92 The Arabs and Water...94 The French and Water...99 Water Capture and Storage...102 Road, Bridge and Farm Building with Antiquities...109 Prehistoric Antiquities...112 Conclusion: Water and Roads...113 3 1830–40: The Destruction of Algiers, Constantine and other Early Settlements...119 Algiers (Capitulated 5 July 1830)...121 Constantine (Occupied 13 October 1837)...125 Médéa (Occupied 1830)...133 Arzew/Arzeu (Occupied 1833)...133 Bougie (Occupied 1833)...134 Guelma (Occupied 10 November 1836)...137 Tlemcen etc (Occupied 1836)...141 Philippeville and Stora (Occupied 8 October 1838)...145 Sétif (First Entered 15 December 1838)...150 Milah (Occupied 1838)...155 Cherchel (Occupied by Valée 15 March 1840)...155 Force majeure, plus ça change . . . 159 4 Ruins, Roads and Railways...165 The Largest Quantity of Roman Ruins outside Asia Minor...165 North African Sites Occupied or Unoccupied...167 Officers and Soldiers Digging Together...181 Roads...184 Roman Roads in Algeria and Tunisia...185 French Roads in Algeria and Tunisia...187 Transport without Roads...189 New Roads, or Refurbished Roman Roads?...191 Railways...197 The Ponts et Chaussées...201 5 Epigraphy, Topography and Mapping...208 The Army’s uses for Roman Inscriptions...210 Army Camps, Route Marches and Inscriptions...211 Inscriptions in Mosques and Houses...214 Milestones...216 Léon Renier, Inscriptions and the Mission Civilisatrice...217 Inscriptions and International Recognition...220 Professionals versus Amateurs...225 Inscriptions versus Ruins...227 Ruins Undescribed...232 Inscriptions versus Archaeology...234 Inscriptions and Museums versus Settlers and Entrepreneurs...236 Destroy the Stone – but Let me Transcribe it First!...239 Mapping, Antiquities and Reconnaissances...242 Map-making in France...242 Early Map-making in Algeria...243 Confusion and Delay...248 The Brigades Topographiques and Antiquities...250 Centuriation Unrecognised...254 A Nest of Puzzles...257 6 The Army Rebuilds Tebessa (First visited 1842)...262 The Site and its Monuments...262 The French Occupy the Site...264 Extensive Building Work Begins...266 Destruction by Ledger...269 7 Building European Towns from the 1840s...275 European Town Plans...276 Building with Ruins...277 French-Occupied Sites and their Transformation...278 Orléansville (Settled 1843)...279 Lambessa (First Visited during 1844)...280 Aumale (Occupied 1846)...285 Tipasa (Occupied 1854)...286 Le Kef (Occupied 1881)...288 Sfax (Occupied 1881)...290 Sousse (Garrisoned 1881)...290 Histoire du vandalisme: Les monuments détruits de l’art français...292 8 Planting Colonies...299 The Bureaux Arabes...302 The Mitidja...306 Villages and Farms...308 Agricultural Colonies...309 Arab Villages...311 French Villages...314 Seriana: Documented Destruction...320 Farms...323 Si Monumentum Requiris . . . 325 9 Algeria and Tunisia on Display...329 Triumphalism and Collecting...329 Collections of Roman Art in France and North Africa...332 Hindsight: Napoleonic Art...335 Ideas and Algerian Propaganda...336 Representing Algeria and Tunisia: Exhibitions and Museums...341 Restoring the Ancient Monuments?...345 Museums...348 Conclusion: “Là où nous passons, tout tombe”...356 Appendix: A Timeline and Some Statistics...364 Bibliography...370 Sources...370 Modern Scholars...413 Index...425 Illustrations

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Book SynopsisBetween Jerusalem and Europe: Essays in Honour of Bianca Kühnel analyses how Jerusalem is translated into the visual and material culture of medieval, early modern and contemporary Europe, and in what ways European encounters with the city have shaped its holy sites. The volume also demonstrates methodological shifts in the study of Jerusalem in Western art by mapping the diversity of concepts that underlie imaginations of the city as an earthly presence and a heavenly realization, as a physical and a mental space, and as a unique location which is multiplied and re-imagined in numerous copies elsewhere. Contributors are Lily Arad, Pnina Arad, Barbara Baert, Neta B. Bodner, Iris Gerlitz, Anastasia Keshman Wasserman, Katrin Kogman-Appel, Ora Limor, Galit Noga-Banai, Robert Ousterhout, Yamit Rachman-Schrire, Bruno Reudenbach, Alessandro Scafi, Tsafra Siew, and Victor I. Stoichita.Table of ContentsContents Acknowledgements vii List of Figures viii List of Contributors xiii xiv Introduction 1 Part 1 Crusader Jerusalem 1 The Cross and the Tomb: The Crusader Contribution to Crucifijixion Iconography 13 Anastasia Keshman Wasserman 2 ‘The King is Dead, Long Live the King’: Representing Transfer of Power in the Crusader Estoire de Eracles 34 Iris Gerlitz Part 2 Matter, Image and Body 3 Sinai Stones on Mount Zion: Mary’s Pilgrimage in Jerusalem 57 Yamit Rachman-Schrire 4 Earth from Jerusalem in the Pisan Camposanto 74 Neta B. Bodner 5 Permanent Ephemera: The ‘Honourable Stigmatisation’ of Jerusalem Pilgrims 94 Robert Ousterhout Part 3 Jerusalem in European Landscapes 6 Translations of the Jerusalem Pilgrimage Route at the Holy Mountains of Varallo and San Vivaldo 113 Ts afra Siew 7 Jerusalem in Galicia: From the Navel of the World to the Ends of the Earth 133 Lily Arad 8 Is Calvary Worth Restoring? The Way of the Cross in Romans-sur- Isère, France 154 Pnina Arad 9 Places of Remembrance : A Via Dolorosa in Berlin’s Bavarian Quarter 173 Galit Noga-Banai Part 4 Time and the End of Time 10 The Annunciation and the Senses: Ruach, Pneuma , Odour 197 Barbara Baert 11 Salvation History, Typology, and the End of Time in the Biblia Pauperum 217 Bruno Reudenbach 12 The Messianic Sanctuary in Late Fifteenth-Century Sepharad: Isaac de Braga’s Bible and the Reception of Traditional Temple Imagery 233 Katrin Kogman-Appel Part 5 Between the Real and the Ideal 13 Coping with Muslim Jerusalem between the Middle Ages and the Renaissance: Islam and the Holy City on Christian World Maps 257 Alessandro Scafiji 14 Placing an Idea: The Valley of Jehoshaphat in Religious Imagination 280 Ora Limor 15 Jerusalem Dreaming: Some Thoughts about Zurbarán’s Paintings for the Merced Calzada in Seville 301 Victor I. Stoichita Bibliography 311 Index 350

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Book SynopsisPublicly performed rituals and ceremonies form an essential part of medieval political practice and court culture. This applies not only to western feudal societies, but also to the linguistically and culturally highly diversified environment of Byzantium and the Mediterranean basin. The continuity of Roman traditions and cross-fertilization between various influences originating from Constantinople, Armenia, the Arab-Muslim World, and western kingdoms and naval powers provide the framework for a distinct sphere of ritual expression and ceremonial performance. This collective volume, placing Byzantium into a comparative perspective between East and West, examines transformative processes from Late Antiquity to the Middle Ages, succession procedures in different political contexts, phenomena of cross-cultural appropriation and exchange, and the representation of rituals in art and literature. Contributors are Maria Kantirea, Martin Hinterberger, Walter Pohl, Andrew Marsham, Björn Weiler, Eric J. Hanne, Antonia Giannouli, Jo Van Steenbergen, Stefan Burkhardt, Ioanna Rapti, Jonathan Shepard, Panagiotis Agapitos, Henry Maguire, Christine Angelidi and Margaret Mullett.Table of ContentsAcknowledgments ... ix List of Maps and Illustrations ... xi List of Contributors ... xv Comparative Approaches to the Ritual World of the Medieval Mediterranean ... 1 Alexander Beihammer Part One: Rituals and the Transformation of the Roman World 1. Imperial Birthday Rituals in Late Antiquity ... 37 Maria Kantirea 2. Phthonos: A Pagan Relic in Byzantine Imperial Acclamations? ... 51 Martin Hinterberger 3. Ritualized Encounters: Late Roman Diplomacy and the Barbarians, Fifth–Sixth Century ... 67 Walter Pohl 4. The Architecture of Allegiance in Early Islamic Late Antiquity: The Accession of Muʿāwiya in Jerusalem, ca. 661 CE ... 87 Andrew Marsham Part Two: Succession Procedures and their Ritual Articulations 5. Describing Rituals of Succession and the Legitimation of Kingship in the West, ca. 1000–ca. 1150 ... 115 Björn Weiler 6. Ritual and Reality: The Bayʿa Process in Eleventh- and Twelfth-Century Islamic Courts ... 141 Eric J. Hanne 7. Comnenian Imperial Succession and the Ritual World of Niketas Choniates’s Chronike Diegesis ... 159 Alexander D. Beihammer 8. Coronation Speeches in the Palaiologan Period ... 203 Antonia Giannouli Part Three: Invention, Appropriation and Transformation between East and West 9. Ritual, Politics, and the City in Mamluk Cairo: The Bayna l-Qaṣrayn as a Mamluk ‘lieu de mémoire’, 1250–1382 ... 227 Jo Van Steenbergen 10. Court Ceremonies and Rituals of Power in the Latin Empire of Constantinople ... 277 Stefan Burkhardt 11. Featuring the King: Rituals of Coronation and Burial in the Armenian Kingdom of Cilicia ... 291 Ioanna Rapti 12. Adventus, Arrivistes and Rites of Rulership in Byzantium and France in the Tenth and Eleventh Century ... 337 Jonathan Shepard Part Four: Ritual Performances and their Reflections in Art and Literature 13. V iolence in the Palace: Rituals of Imperial Punishment in Prokopios’s Secret History ... 375 Stavroula Constantinou 14. The “Court of Amorous Dominion” and the “Gate of Love”: Rituals of Empire in a Byzantine Romance of the Thirteenth Century ... 389 Panagiotis A. Agapitos 15. Parodies of Imperial Ceremonial and Their Reflections in Byzantine Art ... 417 Henry Maguire 16. Look like an Angel: The Attire of Eunuchs and Its Significance within the Context of Middle Byzantine Court Ceremonial ... 433 Maria Parani 17. Designing Receptions in the Palace (De Cerimoniis 2.15) ... 465 Christine Angelidi 18. Tented Ceremony: Ephemeral Performances under the Komnenoi ... 487 Margaret Mullett Bibliography ... 515 Index ... 565

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Trade Review'This third volume of the Aga Khan Program-sponsored annual collection of scholarly articles continues the high standards of its predecessors...' RBP, Middle East Journal, 1987. 'Die Zeitschrift Muqarnas gehört zu den wichtigsten und anregendsten aktuellen Veröffentlichungen auf dem Gebiet der islamischen Kunst und dieser Band steht seinen beiden Vorgängern in Qualität um nichts nach.' Marianne Barrucand, Der Islam, 1988.Table of ContentsOLEG GRABAR, Upon Reading al-Azraqi. EVA BAER, The Mihrab in the Cave of the Dome of the Rock. JONATHAN M. BLOOM, The Origins of Fatimid Art. CAROLINE WILLIAMS, The Cult of 'Alid Saints in the Fatimid Monuments of Cairo. Part II: The Mausolea. YASSER TABBAA, The Muqarnas Dome: Its Origin and Meaning. SHEILA S. BLAIR, The Madrasa at Zuzan: Islamic Architecture in Eastern Iran on the Eve of the Mongol Invasions GÜLRU NECİPOĞLU-KAFADAR, The Süleymaniye Complex in Istanbul: An Interpretation. ALAN W. FISHER and CAROL GARRETT FISHER, A Note on the Location of the Royal Ottoman Ateliers . . ÜLKÜ Ü. BATES, Two Ottoman Documents on Architects in Egypt JAMES DICKIE, The Mughal Garden: Gateway to Paradise HELEN JESSUP, Dutch Architectural Visions of the Indonesian Tradition

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Table of ContentsOleg Grabar, On Catalogues, Exhibitions, and Complete Works Jonathan M. Bloom, The Mosque of the Qarafa in Cairo Leonor Fernandes, The Foundation of Baybars al-Jashankir: Its Waqf, History, and Architecture Howard Crane, Some Archaeological Notes on Turkish Sardis Nancy Shatzman Steinhardt, Siyah Qalem and Gong Kai: An Istanbul Album Painter and a Chinese Painter of the Mongolian Period Doğan Kuban, The Style of Sinan's Domed Structures Yasser Tabbaa, Bronze Shapes in Iranian Ceramics of the Twelfth and Thirteenth Centuries Mehrdad Shokoohy and Natalie H. Shokoohy, The Architecture of Baha al-Din Tughrul in the Region of Bayana, Rajasthan Glenn D. Lowry, Humayun's Tomb: Form, Function, and Meaning in Early Mughal Architecture Peter Alford Andrews, The Generous Heart or the Mass of Clouds: The Court Tents of Shah Jahan Priscilla P. Soucek, Persian Artists in Mughal India: Influences and Transformations A.J. Lee, Islamic Star Patterns

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Trade Review'The issues of this journal...serve as a reliable annual on Islamic and even non-Islamic research.' Carolyn Kane, Journal of the American Oriental Society, 1994. '...a great tool for many a researcher...In a variety of manners, questions every generation should ask, are set afresh in the light of new discoveries and techniques...' Yolande Crowe, Bibliotheca Orientalis, 1994.Table of ContentsOleg Grabar, Between Connoisseurship and Technology: A Review Howard Crane, Traditional Pottery Making in the Sardis Region of Western Turkey Jonathan M. Bloom, The Introduction of the Muqarnas into Egypt Marilyn Jenkins, Mamluk Jewelry: Influences and Echoes Doris Behrens-Abouseif, The Takiyyat Ibrahim al-Kulshani in Cairo Godfrey Goodwin, Gardens of the Dead in Ottoman Times Jale Erzen, Sinan as Anti-Classicist Maurice Cerasi, Late Ottoman Architects and Master Builders R.D. McChesney, Four Sources on Shah ‘Abbas's Building of Isfahan Elizabeth B. Moynihan, The Lotus Garden Palace of Zahir al-Din Muhammad Babur William G. Klingelhofer, The Jahangiri Mahal of the Agra Fort: Expression and Experience in Early Mughal Architecture

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Trade Review'...Die Zeitschrift Muqarnas gehört zu den wichtigsten und anregendsten aktuellen Veröffentlichungen auf dem Gebiet der islamischen Kunst...' M. Barrucand, Der Islam, 1988.Table of ContentsOleg Grabar, An Exhibition of High Ottoman Art Nasser Rabbat, The Meaning of the Umayyad Dome of the Rock Jamel Akbar, Khatta and the Territorial structure of Early Muslim Towns Saleh Lamei Mostafa, The Cairene Sabil: Its Form and Meaning Sergei Chmelnizkij, Methods of Constructing Geometric Ornamental Systems in the Cupola of the Alhambra I.I. Notkin, Genotypes of Spatial Form in the Architecture of the East Perween Hasan, Sultanate Mosques and Continuity in Bengal Architecture Iqtidar Alam Khan, New Light on the History of Two Early Mughal Monuments of Bayana Eva Baer, Jeweled Ceramics from Medieval Islam: A Note on the Ambiguity of Islamic Ornament Peter Chelkowski, Narrative Painting and Painting Recitation in Qajar Iran Donna Stein, Three Photographic Traditions in Nineteenth-Century Iran B.W. Robinson, Qajar Lacquer Layla S. Diba, Persian Painting in the Eighteenth Century Nancy Micklewright, Late-Nineteenth-Century Century Ottoman Wedding Costumes as Indicators of Social Change

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Trade Review'...Die Zeitschrift Muqarnas gehört zu den wichtigsten und anregendsten aktuellen Veröffentlichungen auf dem Gebiet der islamischen Kunst...' M. Barrucand, Der Islam, 1988.Table of ContentsOleg Grabar, Europe and the Orient: An Ideologically Charged Exhibition Thomas Leisten, Between Orthodoxy and Exegesis: Some Aspects of Attitudes in the Shariʿa toward Funerary Architecture Sergei Chmelnizkij, The Mausoleum of Muhammad Bosharo Sheila S. Blair, Sufi Saints and Shrine Architecture in the Early Fourteenth Century Michael E. Bonine, The Sacred Direction and City Structure: A Preliminary Analysis of the Islamic Cities of Morocco D. Fairchild Ruggles, The Mirador in Abbasid and Hispano-Umayyad Garden Typology Mohammad Yusuf Siddiq, An Epigraphical Journey to an Eastern Islamic Land Ulrike Al-Khamis, The Iconography of Early Islamic Lusterware from Mesopotamia: New Considerations Scott Redford, How Islamic Is It? The Innsbruck Plate and Its Setting Gülru Necipoğlu, From International Timurid to Ottoman: A Change of Taste in Sixteenth-Century Ceramic Tiles Leonard Helfgott, Carpet Collecting in Iran, 1873–1883: Robert Murdoch Smith and the Formation of the Modern Persian Carpet Industry Jo Tonna, The Poetics of Arab-Islamic Architecture

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Table of ContentsOleg Grabar, K. A. C. Creswell and His Work Julian Raby, Reviewing the Reviewers J.W. Allan, New Additions to the New Edition Robert Hillenbrand, Creswell and Contemporary Central European Scholarschip Eric Fernie, The History of Medieval Architecture from Carolingian to Romanesque: Criteria and Definitions from 1925 to the Present Day Cyril Mango, Approaches to Byzantine Architecture J.M. Rogers, Architectural History as Literature: Creswell’s Reading and Methods Jonathan M. Bloom, Creswell and the Origins of the Minaret John Warren, Creswell’s Use of the Theory of Dating by the Acuteness of the Pointed Arches in Early Muslim Architecture Sheila S. Blair, Surveyor versus Epigrapher Alastair Northedge, Creswell, Herzfeld, and Samarra G.R.D. King, Creswell’s Appreciation of Arabian Architecture Mark Horton, Primitive Islam and Architecture in East Africa Gloria Karnouk, The Creswell Library: A Legacy Teresa Fitzherbert, The Creswell Photographic Archive at the Ashmolean Museum, Oxford R.W. Hamilton, Keppel Archibald Cameron Creswell, 1879–1974 Note: R.D. McChesney, Postscript to “Four Sources on Shah ʿAbbas’s Building of Isfahan”

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Table of ContentsContents Christopher S. Taylor, 'Reevaluating the Shi‘i Role in the Development of Monumental Islamic Funerary Architecture: The Case of Egypt.' Nuha N.N. Khoury, 'The Mihrab Image: Commemorative Themes in Medieval Islamic Architecture.' Doris Behrens-Abouseif, 'The Facade of the Aqmar Mosque in the Context of Fatimid Ceremonial.' Mohammad Al-Asad, 'The Mosque of Muhammad ‘Ali in Cairo.' Marilyn Jenkins, 'Early Medieval Islamic Pottery: The Eleventh Century Reconsidered.' Robert B. Mason, Ronald M. Farquhar, and Patrick E. Smith, 'Lead-Isotope Analysis of Islamic Glazes: An Exploratory Study.' A. Ghouchani and C. Adle, 'A Sphero-Conical Vessel as Fuqqā‘a, or a Gourd for 'Beer.'' Summer S. Kenesson, 'Nasrid Luster Pottery: The Alhambra Vases.' Massumeh Farhad, 'An Artist's Impression: Mu‘in Musavvir's Tiger Attacking a Youth.' Barbara Finster, 'An Outline of the History of Islamic Religious Architecture in Yemen.' Robert Hillenbrand, 'Turco-Iranian Elements in the Medieval Architecture of Pakistan: The Case of the Tomb of Rukn-i ‘Alam at Multan.' Subhash Parihar, 'A Little-Known Mughal College in India: The Madrasa of Shaykh Chillie at Thanesar.' Wijdan Ali, 'The Status of Islamic Art in the Twentieth Century.'

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Table of ContentsOleg Grabar Bibliography, 1953–93 ANNABELLE SIMON-CAHN, The Fermo Chasuble of St. Thomas Becket and Hispano-Mauresque Cosmological Silks: Some Speculations on the Adaptive Reuse of Textiles EVA R. HOFFMAN, The Author Portrait in Thirteenth-Century Arabic Manuscripts: A New Islamic Context for a Late-Antique Tradition JONATHAN M. BLOOM, On the Transmission of Designs in Early Islamic Architecture YASSER TABBAA, Survivals and Archaisms in the Architecture of Northern Syria, ca. 1080–ca. 1150 HAFEZ K. CHEHAB, On the Identification of ʿAnjar (ʿAyn al-Jarr) as an Umayyad Foundation GHAZI BISHEH, From Castellum to Palatium: Umayyad Mosaic Pavements from Qasr al-Hallabat in Jordan NUHA N. N. KHOURY, The Dome of the Rock, the Kaʿba, and Ghumdan: Arab Myths and Umayyad Monuments NASSER RABBAT, The Dome of the Rock Revisited: Some Remarks on al-Wasiti’s Accounts BEATRICE ST. LAURENT and ANDRÁS RIEDLMAYER, Restorations of Jerusalem and the Dome of the Rock and Their Political Significance, 1537–1928 ARCHIE G. WALLS, Ottoman Restorations to the Sabil and to the Madrasa of Qaytbay in Jerusalem M. TAREK SWELIM, An Interpretation of the Mosque of Sinan Pasha in Cairo MOHAMMAD AL-ASAD, The Mosque of al-Rifaʿi in Cairo KHALED ASFOUR, The Domestication of Knowledge: Cairo at the Turn of the Century DANIEL PIPES, Egyptian Family Life in 1919 JAMEL AKBAR, Gates as Signs of Autonomy in Muslim Towns SCOTT REDFORD, The Seljuqs of Rum and the Antique HOWARD CRANE, Evliya Çelebi’s Journey through the Pamphylian Plain in 1671–72 GÜLRU NECIPOĞLU, Challenging the Past: Sinan and the Competitive Discourse of Early­Modern Islamic Architecture ESIN ATIL, The Story of an Eighteenth-Century Ottoman Festival TÜLAY ARTAN, The Kadırga Palace: An Architectural Reconstruction AYDA AREL, Gothic Towers and Baroque Mihrabs: The Post-Classical Architecture of Aegean Anatolia in the Eighteenth and Nineteenth Centuries WALTER B. DENNY, Quotations in and out of Context: Ottoman Turkish Art and European Orientalist Painting FAY ARRIEH FRICK, Possible Sources for Some Motifs of Decoration on Islamic Ceramics LISA GOLOMBEK, The Paysage as Funerary Imagery in the Timurid Period THOMAS W. LENTZ, Dynastic Imagery in Early Timurid Wall Painting SHEILA S. BLAIR, The Development of the Illustrated Book in Iran EDWARD J. KEALL, “One Man’s Mede Is Another Man’s Persian; One Man’s Coconut Is Another Man’s Grenade” MASSUMEH FARHAD and MARIANNA SHREVE SIMPSON, Sources for the Study of Safavid Painting and Patronage, or Méfiez-vous de Qazi Ahmad ZAHRA FARIDANY-AKHAVAN, All the King’s Toys SHEILA R. CANBY, Depictions of Buddha Sakyamuni in the Jamiʿ al-Tavarikh and the Majmaʿ al-Tavarikh ANTHONY WELCH, Architectural Patronage and the Past: The Tughluq Sultans of lndia MICHAEL BRAND, Orthodoxy, Innovation, and Revival: Considerations of the Past in Imperial Mughal Tomb Architecture PERWEEN HASAN, The Footprint of the Prophet MICHAEL W. MEISTER, Style and Idiom in the Art of Uparāmala DEBORAH KLIMBURG-SALTER, Dokhtar-i-Noshirwan (Nigar) Reconsidered NANCY SHATZMAN STEINHARDT, The Tangut Royal Tombs near Yinchuan ZAKARIA ALI, Notes on the Sejarah Melayu and Royal Malay Art Cumulative Authors’ Index, Muqarnas vols. 1–10 (1982–92)

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Book SynopsisMuqarnas: An Annual on the Visual Cultures of the Islamic World is sponsored by The Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. In Muqarnas articles are published on all aspects of Islamic visual culture, historical and contemporary, as well as articles dealing with unpublished textual primary sources.Table of ContentsAVINOAM SHALEM, Fountains of Light: The Meaning of Medieval Islamic Rock Crystal Lamps CHARLES E. NICKLIES, The Church of the Cuba near Castiglione di Sicilia and Its Cultural Context M. JAMES BLACKMAN and SCOTT REDFORD, Glazed Calcareous Clay Ceramics from Gritille, Turkey R. STEPHEN HUMPHREYS, Women as Patrons of Religious Architecture in Ayyubid Damascus CAROLINE WILLIAMS, The Mosque of Sitt Hadaq MEHRDAD SHOKOOHY, Sasanian Royal Emblems and Their Reemergence in the Fourteenth-Century Deccan CAMMY BROTHERS, The Renaissance Reception of the Alhambra: The Letters of Andrea Navagero and the Palace of Charles V. BARBARA BREND, A Sixteenth-Century Manuscript from Transoxiana: Evidence for a Continuing Tradition in Illustration HAFEZ CHEHAB, Reconstructing the Medici Portrait of Amir Fakhr al-Din al-Maʿani SUSSAN BABAIE, Shah ʿAbbas II, the Conquest of Qandahar, the Chihil Sutun, and Its Wall Paintings EBBA KOCH, Diwan-i ʿAmm and Chihil Sutun: The Audience Halls of Shah Jahan DWIGHT F. REYNOLDS, Feathered Brides and Bridled Fertility: Architecture, Ritual, and Change in a Northern Egyptian Village

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