Religious and ceremonial arts Books
Reichert Verlag The Apse, the Image and the Icon: An Historical
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£42.75
Dr Ludwig Reichert Visionserwartung: Visualisierung Und
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£139.65
Dr Ludwig Reichert Das Wort Im Bild: Untersuchung Zu Den
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£210.90
Shogakukan Inc. Buddhist Statuary Second Edition Bilingual Guide
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£23.00
Archeobooks Studies on Byzantine and Post-Byzantine Art,
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£23.00
Archeobooks La Crucifixion Sans Crucifie Dans l'Art Ethiopien
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£78.85
TRIUNFOS DE SAN RAFAEL LOS
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£29.50
Casa Editrice Leo S. Olschki Un Conoscitivo Amore. La Tradizione Della Vita Di S. Maria Maddalena De Pazzi Tra SEI E Settecento
£61.75
Viella Images of Purgatory: Studies in Religious
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£106.62
Edizioni Terra Santa Selected Works from the Collections of the Terra
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£94.88
Viella Una 'questione Campana': La Prima Arte
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£82.65
Peeters Publishers From Flow to Face: The Haemorrhoissa Motif (Mark
Book SynopsisThe synoptic Gospels record a remarkable story about an anonymous woman – the `Haemorrhoissa’ in further tradition – suffering from incessant uterine bleeding who, without Jesus’ intention or knowledge, was healed by his power (Mark 5:24b-34parr). The Haemorrhoissa motif had an important place in early Christianity, and from its earliest manifestation as synoptic narrative it developed into a multifarious motif embedded in a variety of contexts. One of its most remarkable developments was its transformation into the Veronica motif, the roots of which thus lie in early Christianity. This historical-anthropological investigation of the early Christian Haemorrhoissa motif hence is driven by two primary research questions. The first: why was the early Christian Haemorrhoissa motif so richly represented and did it develop so multifariously? The second: what did the early Christian constellation of the Haemorrhoissa motif contribute to the genesis of the vera icon and its constitution as image paradigm and, intrinsically linked to this, as anthropological paradigm?
£91.20
Peeters Publishers The Narrow Way to Heaven: Identity and Identities
Book SynopsisIf art mirrors identity, this is particularly the case in the Christian Middle East. At first glance, the imposed minority position of the various communities and inherent feelings of peril are the driving forces behind the development of distinct artistic idioms, but on closer inspection this bias does not entirely do justice to the achievements of past generations. Churches would never have been erected and embellished without the zealous support of individuals and groups who had the means to realize such projects. This two-partite study deals with them and the tangible results of their efforts. The first part is devoted to the considerable Christian material heritage in Egypt, from the Arab conquest in the seventh century to the downfall of the artistic production around the turn of the thirteenth/fourteenth centuries. Coptic monasteries, churches and prayer rooms were decorated according to their final functional use and specific needs, thus expressing a distinct monastic identity. Another influential category was the wealthy elite of lay nobles, in particular high-ranking state officials in the Fatimid and Ayyubid service. They not only instigated the renovation and decoration of urban churches, but were also committed to the refurbishing of the papal churches in Old Cairo. In this matter, specific attention is devoted to the involvement of Byzantine-trained artists in the second half of the thirteenth century. In addition, the churches and works of art of the other communities in Egypt, in particular the Syrian Orthodox, are highlighted. The second part discusses the revival of Christian art in Ottoman Egypt, Palestine, and Syria from the seventeenth century onwards. Beside the re-emergence of traditional elements, European influences are tangible all across the board. This was the result of the increasing contacts between Europe and the Middle East and the successful extension of the influences of the Church of Rome to the Ottoman realm. Finally, the epilogue is devoted to modern oriental Christian art as a means to express the identity of the different communities.
£105.00
Peeters Publishers Pneuma and the Visual Medium in the Middle Ages
Book SynopsisThe focus of these essays is the impact of wind, pneuma, and movement in medieval and early modern iconography on art historical hermeneutics. What can wind, pneuma, and movement tell us about the visual medium as such? Wind joins, flows, links, changes direction – in short, the wind is capricious. In its capriciousness wind embodies a particular hermeneutics of association, of freedom and the unexpected. Is an iconography of this caprice possible? How does one capture in pictorial form a natural phenomenon that envelops and penetrates us, even escapes from our own bodies? The dynamics of wind are after all only indirectly visible: swaying trees, waving grass, fluttering textile. How has wind impregnated the theory of the image? Is it a question of visual pneuma? And is wind in the arts a question of content, or rather a matter of formal affect?
£68.60
Peeters Publishers Revisiting Salome's Dance in Medieval and Early
Book SynopsisMark 6:14-29 and Matthew 14:1-12 recount the death of John the Baptist. Herod had him imprisoned for denouncing as incestuous his marriage to Herodias, the former wife of his brother. During a banquet, Herodias’ daughter dances before Herod, who is so enchanted that he promises her a favor. At her mother’s behest, she asks for the head of John the Baptist. The king honors her request and has the head delivered to her on a plate (in disco), which she gives to her mother. When the disciples of John discover about his death, they bury his headless body. In this essay I revisit the iconographic motif of the dancing girl from an interdisciplinary perspective involving exegesis, gender, anthropology, ritual performance, psycho-energetics, Pathosformeln and paragone.
£43.36
Peeters Publishers Carlo Dolci. A Refreshment
Book SynopsisCarlo Dolci. A Refreshment reevaluates the works of the Florentine painter Carlo Dolci. For art historical authors of the late nineteenth and early twentieth centuries the name Dolci was used as a convenient epithet for mocking the sentimental style of the artist’s exclusively religious paintings. A seventeenth century audience, however, could still understand his `sweetness’ as an authentic expression of an old theological concept that went back to the bible itself: the so-called Dulcedo dei, or sweetness of God. This study looks at Dolci’s reception throughout the centuries to show how it came to be that the theologically substantiated aesthetic of sweetness in Dolci’s ÷uvre fell out of favor and into oblivion.
£43.51
Peeters Publishers Decapitation and Sacrifice: Saint John's Head in
Book SynopsisThe anthology Decapitation and Sacrifice is the result of an interdisciplinary project on the phenomenon of the decapitated head of Saint John the Baptist in its exegetical context, in the material culture of the Middle Ages and the Renaissance, and finally in more recent approaches regarding medium studies. Several specialists and scholars from these fields were invited to share their most recent conclusions, thus contributing to our understanding of one of the most peculiar events, artifacts and phenomena in West: the rise and fall of a male head as subject of martyrdom, devotion and artistic expression. What emerges from these collected essays is a nuanced understanding of the beheading and presentation of Saint John. We begin with the biblical account, already finding multiple layers of exegetical meaning, with a focus on John as a Christ figure. As the narrative is adapted into other textual and visual forms, its symbolism is transformed, deepened, or extended in new ways relating to medieval and early modern spirituality, morality, performance and representation. What John’s disembodied head symbolically embodies shifts as we move from one medium to another, and from one geographic region to another. And, within those broader categories, meaningful distinctions can be made between differences in details such as the presence or absence of a platter, the use of specific terminology, the contents of inscriptions, the characterization of Herodias and her daughter, specifics of stage directions, even the parting of John’s beard and the portrayal of his eyes as open or closed or half-closed – to name but a few. The close analysis of these and other details that the contributors to this volume provide tell us both about the symbolic potential of John’s beheading and about how the textual and visual objects studied here functioned in medieval and early modern communities.
£84.00
Peeters Publishers From Conservation to Interpretation: Studies of
Book SynopsisTechnology and conservation are indispensible to our understanding of the history of religious art. Material and technical aspects of historical art works yield a great deal of information about provenance, and thus reflect the cultural networks that characterized the world that produced them. Furthermore, the imagery and decoration of art works express their religious meanings, while details including reworking and damage may inform us about their use (or disuse) in liturgy and devotion. The Swedish conservator and art historian Peter Tångeberg has shown how the insights and methods of art conservation can make important steps in the history of art (not least religious art). He has brought the wealth of medieval and early modern art works in Scandinavia to a European audience and opened up new discussions – as well as stirring up old ones – on a range of aspects, including the transfer of styles and motifs, materials and technologies across Central and Northern Europe. This volume, which is dedicated to Tångeberg by fifteen friends and colleagues on the occasion of his 75th birthday, reflects much of his long and fruitful professional life. All of the contributions pursue a combined perspective on technical/material issues and contextual (mostly liturgical or devotional) aspects. The art works cover the period from c. 1100 to c. 1800 and all originated in the wide area of Tångeberg’s scholarly activity, especially Scandinavia and large parts of Western and Central Europe.
£99.75
Peeters Publishers About Stains or the Image as Residue
Book SynopsisA stain is the evidence of something that was. It’s a trace. A stain may be something quite ordinary: the ink stain on my index finger; the mark of your fingers on this book. A stain may also be embarrassing: lipstick on a cheek; sweat rings under the arms; a bloody discharge. A stain may be forensically incriminating. A stain may be kept for sentimental reasons. Moreover, every stain has its own particular texture. Texture denotes the consistency of a surface and the sensory, often tactile imprint that is left on it. The stain may be absorbed in the thing that supports it; then again, it may stay on the surface, something separate. Every stain is unique. In this essay the author deals with seven factors that make the stain into a powerful model for rethinking the visual: the stain as prototype and prefiguration, the stain as relic, the stain of Veronica, the stain as a psycho-energetic symptom, the stain as pars pro toto for the womb, the stain and le désir mimétique and finally the stain as an image paradigm of the residue.
£46.17
Peeters Publishers Place-Text-Trace: The Fragility of the Spatial
Book SynopsisThe past was over, the future was not there yet and the present was a future past. Throughout the long nineteenth century, past and present had become traces and layers, burdened with an inescapable dimension of absence. Writers, scholars and architects, political theorists, artists, visitors of museums and exhibitions, the miller in Provence and the shepherd in the Landes, were facing a rapidly changing world. The present had become elusive and fragile. The past was irrevocably gone and other. In an initial context of loss, of dispersion and disconnection of lands, people, professions and things, new frameworks of meaning and imagination, of `presentification’, had to be found, tools of preservation, of restoration, of (re)establishment and vivification. Place and text become such tools. Against a concise background of comparative literature and contemporary philosophy on absence and presentification, this essay explores spatial images in French and Belgian nineteenth-century literature, especially in the work of Chateaubriand, Balzac, Rodenbach and Mistral. It is argued that the spatial image, as textual space and spatial text, and in the built environment, operates as a cultural subtext of presentification. Its disruptive nature, its own fragility and eventual self-fragmentation reveal the cultural ambiguities of the century’s tragic and grand strife to make the elusive present eternal, timeless, fixed, absenceless and complete in the age of traces.
£45.60
Peeters Publishers What about Enthusiasm? A Rehabilitation:
Book SynopsisThe word enthusiasm is derived from the Greek enthousiasmos and means being captivated by a god. Even today, we use `enthusiasm’ to describe a special energy that can suddenly overwhelm us: an emotional affect that holds the glow for the subject within oneself, and which radiates inspiration out to an audience. Yet, through the ages, the concept has not always carried with it the positive connotations it had in ancient Greece. Despite a few flickers on the cultural historical time line, enthusiasm has mostly been marginalised in modern Western philosophy: as an excessive urge or as a harmful exaggeration of emotions. In this essay, I work towards a rehabilitation of inspiration within intellectual thought. Is enthousiasmos the subject of any iconographic traditions? Is enthousiasmos also an aesthetic concept? And can enthousiasmos be part of an epistemology?
£50.64
Peeters Publishers Fragments
Book SynopsisFragments presents one hundred and ten entries – from Acheiropoieton to Zwischenraum – that explore new insights and observations for research and criticism in art history, iconology and cultural anthropology. It offers a unique anthology of Barbara Baert's oeuvre. Each lemma bears the stamp of the author’s personality and work, sometimes in the form of an encompassing explanation, sometimes a brief experimental musing, illustratied by iconic artefacts. This extraordinary glossary leverages the power of interdisciplinary research in art and human sciences, and invites the reader to consider the beauty of these disciplines by embracing multiple genres. Fragments is Barbara Baert’s response to her being awarded the Belgian Francqui Prize Human Sciences 2016. This celebration book within the series Studies in Iconology is a token of gratitude and a sign of encouragement towards the desire of a deeper understanding of our artistic environments.
£88.10
Peeters Publishers Afterlife of Antiquity: Anton Springer
Book SynopsisThis essay deals with the early history of the notion of an ‘afterlife of antiquity’ as a metaphor for thinking about antiquity’s continued presence in later periods. Nachleben der Antike is often associated with Aby Warburg and Renaissance art but was first applied to the classical tradition of the Middle Ages by the Czech-German historian Anton Heinrich Springer (1825–1891). His provocative essay on the subject, first published in 1862, is a very early attempt to emancipate the classical tradition from strait-laced classicism and to see it as a historical problem. Springer’s approach anticipated some important later trends in understanding antiquity’s continued presence and significance. Afterlife of Antiquity returns something of the original resonance to Springer’s idea and sheds light on its significance in the history of scholarship. Recognizing some of the theoretical tensions inherent in Springer’s discussion, the current work examines how the notion of an afterlife of antiquity was embedded in the author’s wider interest in artistic tradition and how he used it as a polemical concept targeting both anti-classicizing Romanticist and traditional humanist views of medieval culture. This issue of Studies in Iconology also includes the first English translation of Springer’s Das Nachleben der Antike im Mittelalter, a largely forgotten classic of humanities scholarship, read and admired by Aby Warburg and Erwin Panofsky.
£50.61
Peeters Publishers Die Legendare aus der Rue neuve Nostre Dame:
Book SynopsisZu den teuersten Erzeugnissen der Pariser Buchproduktion im zweiten Viertel des 14. Jahrhunderts gehören vier großformatige Legendare, die der Buchhändler Thomas de Maubeuge bei den Buchmalern der Rue neuve Nostre Dame für den französischen König Karl IV. und sein Umfeld illustrieren ließ. Ausgehend von den Herstellungsbedingungen des Entstehungskontextes wird in der vorliegenden Arbeit die Bedeutung und Funktion der meist stereotypen und formelhaften Miniaturen im Gesamtgefüge der Handschriften untersucht. Vor dem Hintergrund der Tradition französischer Legendare und der Legenda aurea werden die Gestaltungsstrategien herausgearbeitet, die den Akteuren eine inhaltliche Ausrichtung der Codices erlauben und die Rezeptionshaltung der Benutzer subtil steuern. Die untersuchten Handschriften unterliegen dabei einer je eigenen Disposition, in der sich die Wünsche einzelner Auftraggeber mit dem Ringen um eine zeitgemäße Form für die Buchtgattung Legendar vereinen. Neben den Transformationen, die die Gattung im 13. und frühen 14. Jahrhundert erfährt, spiegelt sich hierin die buchhistorisch bedeutsame Verschiebung der idealen Lesehaltung von einer monastisch-kontemplativen hin zu einer scholastisch-akademischen lectio. Ein Katalogteil erschließt 39 hagiographische Handschriften aus der Zeit vor 1350 und ihre Bildfolgen für die künftige Forschung.
£298.87
Peeters Publishers The Fortune of Gertrud Bing (1892-1964): A
Book SynopsisSie stand anderen zur Seite und wußte sie zu inspirieren. It is clear that Ernst H. Gombrich saw Gertrud Bing (1892-1964) as the muse in the circle of scholars around Aby M. Warburg (1866-1929). Others have compared her to the figure of the nymph, which was essential to Warburg’s thought. Indeed, with Warburg’s fascination for the ninfa fiorentina, a picturing of ‘the feminine’ enters into the centre of his thinking. However, Warburg almost never voiced opinions about the role of gender in the structure of society. Nor does it seem that he actually admitted women to his intellectual universe. Gertrud Bing, it turns out, was the rare exception. Who was Gertrud Bing and what was her personal contribution to Warburg’s scientific project? This essay intends to map the agency of Gertrud Bing, in a way that she herself would have probably preferred. According to her, the ideal biography ought to merge the personal with the intellectual, since, what one experiences as a human being will also find its way into the academic oeuvre one leaves behind.
£50.44
Peeters Publishers The Weeping Rock: Revisiting Niobe through
Book SynopsisPublius Ovid (43 BC-17/18 AD) describes in his Metamorphoses Niobe’s transformation into a weeping rock. Niobe’s transformation incorporates the form and matter of the medium of sculpture. According to the humanist paragone debate, painting and sculpture struggle to be the medium with the highest qualities of virtuosity. Aby Warburg (1866-1929) refers to the Niobe motif’s Nachleben in his Tafel 5: Beraubte Mutter. (Niobe, Flucht und Schrecken). This displays the images of both the bereaved mother (Niobe) and the murderous mother (Medea). The montage also introduces the theme of the descent to the underworld. It becomes clear how the cluster of motifs around the figure of Niobe - hybris, lamentatio and the chthonic substrate - functions as a direct entry to a bipolar hermeneutics of the visual medium: the ‘historical psychology of human expression’ that navigates between Apollo and Dionysus. The 'weeping rock' that according to legend still stands on Mount Sipylus in Turkey, draws upon deeper anthropological patterns. Petrification indicates inertia, frigidity and a Medusan psychosis of fear. In nature, stones and rocks have a 'slumbering insistence' that can be captivating. Stones are after all visible but impenetrable, they index an irrevocable absence in their presence, and ‘have abode’ in an otherworldly region of utter blindness and silence. From a psychoanalytical perspective, Niobe’s petrifaction symbolises the straitening of her life and the loss of anima within a culture divorced from authentic feeling, nature, and instinct. Here Niobe meets Echo.
£49.61
Peeters Publishers Richard de Bury, Philobiblon of De liefde voor
Book SynopsisRichard of Bury (1287-1345) is weliswaar een minder gekende, maar zeer kleurrijke figuur uit de middeleeuwen. Hij is Engels priester, docent, diplomaat, bisschop en … bibliofiel. In die laatste hoedanigheid verzamelt hij niet alleen de grootste boekencollectie uit zijn tijd (die na zijn dood mee aan de basis ligt van de universiteitsbibliotheek van Oxford), maar schrijft hij ook het eerste traktaat over de liefde voor het boek, Philobiblon. Hij vat het op als een testament waarin het niet ontbreekt aan een bij wijlen ontroerende openhartigheid. Met het boek wil hij bij priesters en religieuzen het studeren aanwakkeren en tegelijkertijd is het de allereerste handleiding voor bibliothecarissen. Verrassend genoeg pleit hij bijvoorbeeld voor een openreksysteem, terwijl in zijn tijd in vele bibliotheken de boeken nog vastgeketend liggen.
£46.84
Peeters Publishers The Right Moment: Essays Offered to Barbara
Book SynopsisIn consultation with Han Lamers. Editorial assistance: Stephanie Heremans & Laura Tack The essays collected in this volume explore how and by what means, from antiquity to the present day, the notion of ‘the right moment’ has been defined, visualized, and experienced. The authors approach the subject from a range of disciplines and often work at the intersection of several of them, including the history of art and architecture, philosophy and art theory, classics and comparative literature, the history of religion and theology, and anthropology. In addition to scholarly exposés, the book contains a number of personal musings and artistic reflections on ‘the right moment’ in various forms and kinds of imagination – visual, literary, and philosophical. The Right Moment originates in a festive symposium held at the Francqui Foundation in Brussels on 18 and 19 October 2018 in honour of Barbara Baert, Laureate of the 2016 Francqui Prize in Human Sciences. “The statue of καιρός lives,” Barbara Baert wrote, “and it lets its powers gently glow to the surface for those who recognize him. But for those who miss him, a sharp and bitter trail remains.” A celebratory publication with contributions by Inigo Bocken, Angelos Chaniotis, James Clifton, Johan De Groef, Ralph Dekoninck, Greti Dinkova-Bruun, Pierre-Antoine Fabre, Catherine Harper, Stephanie Heremans, Elisabeth Hsu, Mateusz Kapustka, Bianca Kühnel, Han Lamers, W.J.T. Mitchell, Herman Parret, Miri Rubin, Hedwig Schwall, Davide Stimilli, Victor Stoichiţă, Stéphane Symons, Laura Tack, Philippe Van Cauteren, Koenraad Van Cleempoel, Anne van Herreweghen, Pierre Van Moerbeke, Bart Verschaffel, and Marina Vicelja-Matijašić.
£180.00
Peeters Publishers The Right Moment: Essays Offered to Barbara
Book SynopsisIn consultation with Han Lamers. Editorial assistance: Stephanie Heremans & Laura Tack The essays collected in this volume explore how and by what means, from antiquity to the present day, the notion of ‘the right moment’ has been defined, visualized, and experienced. The authors approach the subject from a range of disciplines and often work at the intersection of several of them, including the history of art and architecture, philosophy and art theory, classics and comparative literature, the history of religion and theology, and anthropology. In addition to scholarly exposés, the book contains a number of personal musings and artistic reflections on ‘the right moment’ in various forms and kinds of imagination – visual, literary, and philosophical. The Right Moment originates in a festive symposium held at the Francqui Foundation in Brussels on 18 and 19 October 2018 in honour of Barbara Baert, Laureate of the 2016 Francqui Prize in Human Sciences. “The statue of καιρός lives,” Barbara Baert wrote, “and it lets its powers gently glow to the surface for those who recognize him. But for those who miss him, a sharp and bitter trail remains.” A celebratory publication with contributions by Inigo Bocken, Angelos Chaniotis, James Clifton, Johan De Groef, Ralph Dekoninck, Greti Dinkova-Bruun, Pierre-Antoine Fabre, Catherine Harper, Stephanie Heremans, Elisabeth Hsu, Mateusz Kapustka, Bianca Kühnel, Han Lamers, W.J.T. Mitchell, Herman Parret, Miri Rubin, Hedwig Schwall, Davide Stimilli, Victor Stoichiţă, Stéphane Symons, Laura Tack, Philippe Van Cauteren, Koenraad Van Cleempoel, Anne van Herreweghen, Pierre Van Moerbeke, Bart Verschaffel, and Marina Vicelja-Matijašić.
£237.50
Peeters Publishers Imaginer Moïse à lâge moderne en France XVIeXVIIIe siècles
£152.27
Clavis Stichting Publicaties Middeleeuwse Kunst Order and Confusion: The Twelfth-Century Choir of
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£95.00
£89.99