Nature in the arts Books

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 examines the image-based methods of interpretation that pictorial and literary landscapists employed between 1500 and 1700. The seventeen essays ask how landscape, construed as the description of place in image and/or text, more than merely inviting close viewing, was often seen to call for interpretation or, better, for the application of a method or principle of interpretation. Contributors: Boudewijn Bakker, William M. Barton, Stijn Bussels, Reindert Falkenburg, Margaret Goehring, Andrew Hui, Sarah McPhee, Luke Morgan, Shelley Perlove, Kathleen P. Long, Lukas Reddemann, Denis Ribouillault, Paul J. Smith, Troy Tower, and Michel Weemans.Table of ContentsAcknowledgements List of Illustrations Notes on the Editors Notes on the Contributors Part 1: Introduction: The Hermeneutic and Exegetical Potential of Landscapes 1 Introduction: Landscape and the Visual Hermeneutics of Place, 1500–1700  Walter S. Melion 2 Parabolic, Periphrastic, and Emblematic Ekphrasis in Hans Bol’s Emblemata Evangelica of 1585  Walter S. Melion Part 2: Constructions of Identity: Landscapes and the Description of Reality 3 Landscape Description and the Hermeneutics of Neo-Latin Autobiography: the Case of Jacopo Sannazaro  Karl Enenkel 4 Landscape in Marcus Gheeraerts’s Fable Illustrations  Paul J. Smith 5 Order or Variety? Pieter Bruegel and the Aesthetics of Landscape  Boudewijn Bakker 6 Schilderachtig: A Rhyparographic View of Early 17th-Century Dutch Landscape Painting  Reindert Falkenburg 7 Landscape with Landmark: Jacob van Ruisdael’s Panorama of Amsterdam (1665–1670)  Stijn Bussels 8 Jacob van Ruisdael’s The Jewish Cemetery, c. 1654–1655: Religious Toleration, Dutch Identity, and Divine Time  Shelley Perlove 9 ‘Car la terre ici n’est telle qu’un fol l’estime’: Landscape Description as an Interpretative Tool in Two Early Modern Poems on New France  William M. Barton Part 3: Constructions of Artificial Landscapes: Gardens, Villegiatura, Ruins 10 Hermeneutics and the Early Modern Garden: Ingenuity, Sociability, Education  Denis Ribouillault 11 The Politics of Space of the Burgundian Garden  Margaret Goehring 12 The Stratigraphy of Poetic Landscape at the Esquiline Villa  Sarah McPhee 13 Poussin’s Allegory of Ruins  Andrew Hui 14 ‘False Art’s Insolent Address’: The Enchanted Garden in Early Modern Literature and Landscape Design  Luke Morgan Part 4: Constructions of Imaginary Landscapes 15 Narrative Vitality and the Forest in the Furioso  Troy Tower 16 Epic Salvation: Christ’s Descent into Hell and the Landscape of the Underworld in Neo-Latin Christian Epic  Lukas Reddemann 17 World Landscape as Visual Exegesis: Herri met de Bles’s Penitent Saint Jerome  Michel Weemans 18 Cities of the Dead: Utopian Spaces, the Grotesque, and the Landscape of Violence in Early Modern France  Kathleen Long Index Nominum

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Book SynopsisJao Tsung-i was China’s last great traditional man of letters, polymath, and pioneer of comparative humanistic inquiry during Hong Kong’s global heyday. Dunhuang is China’s traditional northwest frontier and overland conduit of exchange with the Old World. In this volume, Jao proposes an entirely new school of Chinese landscape painting, reconsiders Dunhuang’s oldest manuscripts as its newest research field, and explores topics ranging from comparative religion to medieval multimedia.Table of ContentsSeries Introduction: Collected Works of Jao Tsung-i Translator’s Preface Acknowledgements List of Illustrations Abbreviations Conventions Part 1: Jao and Dunhuang Studies “Next Time Round, I Wish to Lead a Sutra Scribe’s Life”: Jao Tsung-i and Dunhuang Studies 他生願作寫經生:饒宗頤教授與敦煌學研究 Dunhuang Studies and Me 我和敦煌學 Part 2: Dunhuang as Inspiration and Source Turfan—the Bodhisattva Whose Head Came Off 吐魯番—丟了頭顱的艹艹（菩薩） Preface to The Xiang’er Laozi, Annotated, Collated and Substantiated Laozi Xiang’er zhu jiaozheng “Zixu” 老子想爾注校證·自序 On the Northwest School of Chinese Landscape Painting Xibeizong shanshuihua shuo 中國西北宗山水畫說 Part 3: Medieval Multimedia On the Relationship between Bianwen 變文 and Illustration, from the Perspective of the Shanbian 睒變 (Śyāma Transformation) 從「睒變」論變文與圖繪之關係 Postface to the Two Dunhuang Manuscript Fragments of the Baize jingguai tu 白澤精怪圖 (White Marsh’s Diagrams of Spectral Prodigies; P.2682, S.6261) 跋敦煌本《白澤精怪圖》兩殘卷 (P.2682, S.6261) Part 4: Dunhuang Poetry Did Men of Song Belt Out “Tang Ci”? An Explanation of the Poem “I Only Fear the Spring Breeze Will Chop Me Apart” 「唐詞是宋人喊出來」的嗎？ 說「只怕春風斬斷我」 Notes on the Yunyao ji 雲謠集 (Cloud Ballad Collection) Manuscripts P.2838 and S.1441 Another Look at the Dunhuang Manuscript of “Deng lou fu” 登樓賦 (Rhapsody on Climbing the Tower) 敦煌寫本登樓賦重研 Part 5: Reorienting Dunhuang Studies Dunhuang Research Should Be Broader in Its Scope “Dunhuang yinggai kuoda yanjiu fanwei” 敦煌應擴大研究範圍 Works Cited Index

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