Religious and ceremonial arts Books

Book SynopsisThis book discusses the decoration types of Sephardic illuminated Bibles. Unlike illuminated Passover manuscripts from the same period with their rich figurative and narrative picture cycles, Bibles are almost exclusively aniconic. Whereas the former borrow heavily from Christian art, the Bibles are entirely indebted to Islamic culture. The volume elaborates in particular on the cultural history of the decorative motifs and types of ornamentation in an era of cultural transition in Iberia and culture struggle within Spanish Jewry. The first two chapters describe the cultural, social and artistic background in which the Bibles were produced, whereas the other chapters describe the works of the different schools and discuss them within different cultural, historical and social contexts. The text is accompanied by 10 color plates and 141 black-and-white figures.Table of ContentsPreface .. ix List of Illustrations .. xiii List of Maps and Diagrams .. xxv Introduction .. 1 Chapter One Acculturation, Assimilation, and Convivencia: The Iberian Peninsula in the Middle Ages .. 10 Islam and Christianity .. 10 The Population of Al-Andalus .. 15 Minorities in the Christian Lands .. 16 The Mudéjar Communities .. 17 The Jewish Communities .. 19 Cultural Exchange .. 20 Chapter Two The Artistic Environment of Illuminated Sephardic Bibles .. 34 Manuscripts of the Qur"an .. 34 Hebrew Manuscripts from the Middle East .. 38 Christian Art in Spain .. 50 The Art of the Mudéjares .. 54 Chapter Three The Castilian Workshops of the Thirteenth Century .. 57 The Earliest Illuminated Bible .. 57 From the Marseilles Bible to the Damascus Keter .. 61 The Parma Bible .. 68 Joseph ben Judah ibn Merwas .. 88 Echoes of Christian Art .. 92 Chapter Four Joshua ibn Gaon and Joseph Hatsarfati .. 98 Chapter Five The Catalan Workshops of the Fourteenth Century .. 131 The Perpignan Bible and its Relatives .. 131 Bibles from Barcelona and its Environs .. 141 The Foa and Farhi Bibles and the Renewal of Islamic Motifs .. 150 The King’s Bible .. 154 The Saragossa Bible .. 155 A Closer Look at the Temple Depictions .. 156 Decoration of the Masorah Magna .. 168 Chapter Six Cultural Transition and the Art of the Hebrew Book .. 171 Islamic Culture, Aniconism, and the Sephardic Bibles .. 173 Christian Art, Pictorial Narrative, and the Sephardic Haggadot .. 181 The Cultural Climate within Late Medieval Sephardic Jewry .. 185 Joshua ibn Gaon and Joseph Hatsarfati .. 199 Maimonides’ Texts Decorated .. 200 Chapter Seven Castilian Schools of the Fifteenth Century .. 203 Micrographic Decoration in New Castile .. 204 The First Kennicott Bible .. 212 French and Italian Influences .. 215 Conclusion .. 220 Bibliography .. 225 General Index .. 235 Index of Manuscripts .. 242

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Book SynopsisThe eight lively contributions to this volume, appearing concurrently in a special issue of the journal Biblical Interpretation, illustrate a range of exciting approaches to the newly developing area of the reception history of the Bible in literature, music, art and film. (Originally published as issue 4-5 of Volume 15 (2007) of Brill's journal Biblical Interpretation)Table of ContentsPART ONE The Bible in Literature Francis Landy Noah’s Ark and Mrs. Monkey Mikael Sjöberg Jephthah’s Daughter as Object of Desire or Feminist Icon Anthony Swindell Latecomers: Four Novelists Rewrite the Bible PART TWO The Bible in Music Peter McGrail Eroticism, Death and Redemption: The Operatic Construct of the Biblical “Femme fatale” Helen Leneman Re-visioning a Biblical Story through Libretto and Music: “Debora e Jaele” by Ildebrando Pizzetti Andrew Davies Oratorio as Exegesis: The Use of the Book of Isaiah in Handel’s Messiah PART THREE The Bible in Art and Film Martin O'Kane ‘The Bosom of Abraham’ (Luke 16:22): Father Abraham in the Visual Imagination Eric S. Christianson The Big Sleep: Strategic Ambiguity in Judges 4-5 and in Classic Film Noir

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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 SynopsisThese essays on late antiquity traverse a territory in which Christian and pagan imagery and practices compete, coexist, and intermingle. The iconography of the most significant late antique ceramic, African Red Slip Ware, is an important and relatively unexploited vehicle for documenting the diversity and interpenetration of late antique cultures. Literary texts and art in other media, particularly mosaics, provide imagery that complement and enhance the messages of the ceramics. Popular entertainments, pagan cults, mythic heroes, beasts, monsters, and biblical visions are themes dealt with on the patrician and popular levels. With interpretive supplements from these diverse realms, it is possible to achieve greater insight into the life, attitudes, and thought of Late Antiquity.Trade Review"... series of highly interesting and original articles that attempt to explicate the theological significance of [...] images produced in the Roman empire at the beginning of the Christian era. [...] The authors' methodology typically combines a skillful review of literary sources with a wide-ranging survey of the pictorial images of late antiquity. The results are often enlightening and the essays are a pleasure to read." – Jeffrey Spier, University of Arizona, in: Journal of Roman Archaeology 27 (2014) "Der große Verdienst der hier versammelten Texte liegt darin, dieses häufig vernachlässigte Bildmedium zur Erforschung der spätantiken Kunstgeschichte zu nutzen." – Armin Bergmeier, München, in: Theologische Literaturzeitung 140 (2015)Table of ContentsI. Paulinus of Nola, Courtyards, and Canthari: A Second Look II. Thecla the Beast Fighter: A Female Emblem of Deliverance in Early Christian Popular Art III. “Two Men in White:” Observations on an Early Christian Lamp from North Africa with the Ascension of Christ IV. Anicius Auchenius Bassus, African Red Slip Ware, and the Church V. The Sphinx: An Egyptian Theological Symbol in Clement of Alexandria VI. Clement of Alexandria, Acrobats, and the Elite VII. Celsus’ Competing Heroes: Jonah, Daniel, and their Rivals VIII. Divine Twins or Saintly Twins: The Dioscuri in an Early Christian Context IX. The Saga of Peter and Paul: Emblems of Catholic Identity in Christian Literature and Art X. Apocalyptic Themes in the Monumental and Minor Art of Early Christianity XI. Odysseus Wanders into Late Antiquity XII. Execution as Entertainment: The Roman Context of Martyrdom

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Book SynopsisI. Islamic Lands in the Late Ayyubid Period; II. The Artifacts; III. Christian Imagery: It's Models and Meaning (New Testament Scenes; Sacred and Ecclesiastical Images; The Brasses in Their Cultural Context) Studies and Sources on Islamic Art and Architecture: Supplements to Muqarnas contain textual primary sources for visual culture and scholarly historical examinations of topics and issues in Islamic art, architecture and culture.Trade Review'...a milestone in the study of Islamic metalwork.' J. Allan, JRAS, 1991. 'A good bibliography, sharp illustrations and lucid analysis are among the book's strong points.' Omar Khalidi, Muslim World Book Review, 1995.Table of ContentsAcknowledgements List of Illustrations I. Islamic Lands in the Late Ayyubid Period II. The Artifacts III. Christian Imagery: Its Models and Meaning New Testament Scenes Sacred and Ecclesiastical Images The Brasses in Their Cultural Context Bibliography Index Plates 1-128

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Book SynopsisGrief binds the worshipers together in an adagio of sorrow as they encounter the sculptural representation of the Entombment of Christ. Located in funerary chapels, parish churches, cemeteries, and hospitals, these works embody the piety of the later Middle Ages. In this book, Donna Sadler examines the sculptural Entombments from Burgundy and Champagne through a variety of lenses, including performance theory, embodied perception, and the invocation of the absent presence of the Holy Sepulcher. The author demonstrates how the action of Joseph of Arimathea and Nicodemus entombing Christ in the presence of the Marys and John operates in a commemorative and collective fashion: the worshiper enters the realm of the holy and becomes a participant in the biblical event.Table of ContentsContents Acknowledgements ix List of Illustrations xi Introduction 1 1 The Origins of the Entombment of Christ 7 2 The Entombment of Christ: Echoes of the Performative Piety of the Sculpture at the Chartreuse de Champmol 25 3 The Entombment of Christ: The Absent Presence of the Resurrected Christ and the Holy Sepulcher 72 4 Hocus Pocus: The Entombment of Christ and Medieval Performance 111 5 Conclusion: The Entombments in the Context of Late Medieval Sculpture 149 Bibliography 199 Index 229

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Book SynopsisIn The Imagined and Real Jerusalem in Art and Architecture specialists in various fields of art history, from Early Christian times to the present, articulate a variety of cultural, religious and political implications of the visualization of Jerusalem. This collection of essays calls attention to two axes emerging from the study of Jerusalem in art: on the one hand, the volatile contemporary situation, and on the other hand, the abiding chain of meanings that history imparts to the city. From a contemporary perspective and within a broad historical context, the book discusses in depth a series of Western artworks, artefacts, and buildings providing new insights into memory processes and mechanisms of representation of Jerusalem.Table of ContentsContents Acknowledgements List of Illustrations List of Contributors Introduction – Recollection in Patches Part 1 - Competing Memories and Contrasting Meanings 1 Sites and Senses: Mapping Palestinian Territories in Mona Hatoum’s Sculpture Present Tense Anneke Schulenberg 2 The Green Line: Potency, Absurdity, and Disruption of Dichotomy in Francis Alÿs’s Intervention in Jerusalem Mette Gieskes 3 Jerusalem as Trauerarbeit: On Two Paintings by Anselm Kiefer and Gerhard Richter Wouter Weijers 4 Ezekiel for Solomon: The Temple of Jerusalem in Seventeenth-century Leiden and the Case of Cocceius Jeroen Goudeau 5 Jerusalem as Palimpsest: The Architectural Footprint of the Crusaders in the Contemporary City Mariëtte Verhoeven 6 Translations of the Sacred City between Jerusalem and Rome Sible de Blaauw Part 2 - Imitation and Translocation 7 The Reconquered Jerusalem Represented: Tradition and Renewal on Pilgrimage Ampullae from the Crusader Period Katja Boertjes 8 ‘As if they had physically visited the holy places’: Two Sixteenth-century Manuscripts Guide a Mental Journey through Jerusalem (Radboud University Library, Mss 205 and 233) Hanneke van Asperen 9 Jerusalem in Renaissance Italy: The Holy Sepulchre on the Sacro Monte of Varallo Bram de Klerck 10 Overdetermination of a Heavenly Jerusalem: Contemporary Windows by Gérard Garouste and Jean-Michel Alberola Daan Van Speybroeck 11 ‘You want to take us to Jerusalem …’: Medinat Weimar: A Second Jerusalem in Contemporary Visual Arts and Klezmer Songs Rudie van Leeuwen Index

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Book SynopsisModernism, Christianity and Apocalypse stages an encounter between the fields of ‘Modernism and Christianity’ and ‘Apocalypse Studies’. The modernist impulse to ‘make it new’, to transform and reform culture, is an incipiently apocalyptic one, poised between imaginative representations of an Old Era or civilization and the experimental promise of the New. Christianity figures in formative tension with the ‘new’, but its apocalyptic paradigms continued to impact modernist visions of cultural revitalization. In three sections tracing a rough chronology from the late nineteenth century fin de siècle, via interwar conflicts and the rise of ‘political religions’, to post-1945 anxieties such as the Bomb, this thematic is explored in nineteen far-ranging scholarly contributions, outlining a distinctive and fresh interdisciplinary field of study.

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Book SynopsisThis is the first study in any language to trace the emergence of the art historical interest in icon painting in the nineteenth century with its evident impact on the course of Russian modernism in the twentieth century. Given the surge in popularity of the Russian avant-garde, a book devoted to the gradual awareness of the artistic value of icons and their effect on Russian aesthetics is timely. The discoveries, the false starts, the incompetence, the interaction of dilettantes and academics, the meddling of tsars and church officials, all make for a fascinating tale of growing cultural awarenss. It is a story that prepares the ground for the explosioin of Russian cultural creativity and acceptability in the early twentieth century.Trade Review"a superb English translation of Gerold Vzdornov’s 1986 seminal study of the nineteenth century’s discovery and study of Russian medieval icons and frescoes within imperial Russia. The welcome English version of one of his encyclopedic and beautifully illustrated monographs should become a staple of every university library and essential reading for scholars and students interested in the history and culture of imperial Russia." "The evidence and conclusions of this monograph should shatter once and for all various preconceived notions that the destruction of Russian religious art began with the Bolshevik regime, that restoration work always involved modern understandings of the word “restoration,” and that Russian medieval painting was revered throughout the ages." "Through the lens of art history Vzdornov delivers nothing less than a reinterpretation of late imperial Russian history and a chronicling of the destruction of much of ancient medieval Russian and Ukrainian art up through the turn of the twentieth century. It is little wonder that medievalists and early modernists often have to rely on surviving embroideries and manuscript illustrations to reconstruct the art and symbolism of their eras." Christine D. Worobec, review of The History of the Discovery and Study of Russian Medieval Painting, by Gerol’d I. Vzdornov, Journal of Icons Studies 2 (2019) - https://doi.org/10.36391/JIS2/006BRTable of ContentsPreface Chapter One General Information on Russian Icons and Frescoes The religious nature of Medieval Russian painting. — Untoward conditions of icon preservation. The destruction of surface texture and the darkening of the icon’s protective coat. Restoration techniques. — Mural paintings and causes of their poor condition. — Seventeenth-century conservation in the Moscow Kremlin. — On the rare deliberate alterations of painting in Rus'. — The eighteenth-century attitude to works of antiquity. — “Conservation" in the reign of Catherine II. — Medieval Russian painting and Mikhail Lomonosov. — Jacob von Stählin’s materials and their significance for the history of Russian art. Chapter Two First Steps in the Discovery of Medieval Russian Painting Russian antiquities discovered in the late eighteenth century. — Historico-archaeological expedition of K. M. Borozdin (1809—10). — From monuments of written language to those of painting. N. M. Karamzin’s comment on the manuscript illuminations and mosaics of the Kievan St. Sophia. — The fate of the frescoes of the St. George Church in Staraya Ladoga. — P. I. Keppen and his List of Russian Monuments Subservient to the Compilation of the History of Arts and National Palaeography (1822). — Prerequisites for the growth of public interest in Russia’s history: the upsurge of popular-patriotic sentiment during the war against Napoleon; the aesthetic of romanticism in literature and art; the internal policy of Nicholas I. Chapter Three The Artist-Archaeologist F. G. Solntsev and the Artist-Restorer N. I. Podkliuchnikov F. G. Solntsev and his artistic and archaeological activities. — The uncovering of the frescoes of the St. Demetrius Cathedral in Vladimir. — Restoration of wall paintings in the Kievan St. Sophia. — The 1842 law on the preservation of monuments. — Once again concerning the fate of the frescoes in Staraya Ladoga. — The beginning of conservation work in Moscow. — N. I. Podkliuchnikov as first professional restorer of medieval Russian painting. — The conservation of the iconostases in the Dormition Cathedral of the Moscow Kremlin and the church in the village of Vasil'evskoe near Shuia. — F. G. Solntsev’s drawings in Drevnosti Rossiiskogo Gosudarstva (Antiquities of the Russian State). — Publication of mosaics and frescoes of the Kievan St. Sophia. — Addendum: the artist-archaeologist N. N. Martynov and his collection of sketches of medieval paintings of Novgorod, Pskov, and Staraya Ladoga. Chapter Four The 1840s: Men of Letters, Palaeologists, Collectors N. D. Ivanchin-Pisarev and S. P. Shevyrev. — Historico-archaeological works of I. M. Snegirev and I. P. Sakharov. — The Old Believer community and its significance in the preservation of old artworks. — I. M. Snegirev’s discourses with icon painters and connoisseurs of icon painting at the Preobrazhenskoe and Rogozhskoe cemeteries. — Private and public collections of icons. Criteria for their selection. — Moscow home chapels (molennye) as described by F. I. Buslaev. — A. F. Sorokin’s collection. Classification of Sorokin collection of icons in accordance with notes made by the collector. — Ancestral collections. Icons of the Stroganov school in S. G. Stroganov’s collection. — M. P. Pogodin’s old artworks repository. — D. A. Rovinskii and his book, Obozrenie ikonopisaniia v Rossii do kontsa XVII veka (A Survey of Icon Painting in Russia up to the End of the Seventeenth Century). Chapter Five F. I. Buslaev and His Contemporaries The 1860s Narodnost' as the key idea of the era. — Precursors of Moscow museums. The Moscow Public Museum and the Rumiantsev Museum. — P. I. Sevast'ianov and his archaeological expeditions and collections. — A. E. Viktorov. First publications of the Moscow Public Museum. — The Society of Medieval Russian Art at the Moscow Public Museum. The Society’s publications. — F. I. Buslaev. His biography and works on art. — Foreign critics’ comments on Russian art as reviewed by F. I. Buslaev. — S. D. Filimonov as editor, scholar, and collector. — Russian antiquities assembled at the St. Petersburg Academy of Arts. — V. A. Prokhorov. His journals, Christian Antiquities and Archaeology and Russian Antiquities. — V. A. Prokhorov’s lectures on the history of Medieval Russian art delivered at the Academy of Arts. Chapter Six Learned Societies The flourishing of learned societies in the second half of the nineteenth century. — Russian Archaeological Society. — Archimandrite Makarii (Macarius) and his church-archaeological descriptions. — Once more on the Russian Archaeological Society. — A. V. Prakhov. His scholarly and artistic discoveries in Kiev, Vladimir-Volynskii, and Chernigov. A. V. Prakhov’s work as a copyist. — The Moscow Archaeological Society. — Count A. S. Uvarov’s views on medieval Russian art. — Once more on the Moscow Archaeological Society. — The discovery of frescoes on the altar-screen of the Dormition Cathedral in the Moscow Kremlin. — The discovery of murals in the Dormition Cathedral in Vladimir. — The restoration of frescoes in the Annunciation Cathedral of the Moscow Kremlin. — The renovation of sixteenth-century murals in the Dormition Cathedral of the Sviiazhskii Monastery. — The restoration of the iconostasis in the Cathedral of Our Lady of Smolensk at the Novodevichii Convent in Moscow. — The Archaeological Commitee and the Academy of Arts. — The architect V. V. Suslov and his restorations in Pereslavl-Zalesskii, Pskov, and Novgorod. — Copying of frescoes in Staraia Ladoga, Mirozh, and the St. Sophia Cathedral in Novgorod. — The Society of Lovers of Ancient Literature and Art. Chapter Seven Museums, Private Collections, and Exhibitions The concept of a national museum as presented in the projects of F. P. Adelung and G. von Wiechman. — The Historical Museum in Moscow. I. E. Zabelin and V. N. Shchepkin. — The museum in Tver. A. K. Zhiznevskii. — The Rostov museum. — Provincial statistical boards and learned archival commissions. — Church museums. — The Synodal vestry in the Moscow Kremlin. The Archimandrite Savva (Sabbas) and his Index for the viewing of the vestry. — The museum of church archaeology at the Kiev Ecclesiastical Academy. N. I. Petrov. — The collections of A. E. Sorokin, A. N. Murav'ev, and Porfirii Uspenskii. — Museums of church archaeology at the ecclesiastical academies of Moscow and St. Petersburg. — The department of church archaeology at the Society of Lovers of Spiritual Enlightenment and the Society’s museum. — The Tula eparchial depository of antiquities. Depositories of antiquities in Vladimir and Archangel. — Private museums of V. A. Prokhorov, F. M. Pliushkin, A. S. Uvarov, and P. I. Shchukin. — The collectors N. M. and A. M. Postnikov and I. L. Silin. Antiquaries T. F. and S. T. Bolshakov. — N. S. Leskov and his contribution to the popularization of Medieval Russian painting. — Russian antiquities at the World Exposition in Paris in 1867. — Exhibitions at archaeological congresses. Church antiquities at the exhibition of the Eighth Archaeological Congress in Moscow in 1890. — The art and archaeology exhibition in St. Petersburg in 1898. On the Moscow exhibitions of the representations of Christ and the Mother of God in 1896 and 1897. Chapter Eight Academy and University Scholarship Medieval Russian painting as reflected in the Proceedings of the Second Department of the Academy of Sciences. I. I. Sreznevskii. — Descriptions of manuscript collections and single codices as a source for the study of Byzantine and Russian miniatures. V. N. Shchepkin’s views on the illuminated manuscripts. — Chairs of the history of art in metropolitan and provincial universities. — N. P. Kondakov. The Odessa period of his life and work: from classical archaeology to the history of Byzantine art. — Kondakov’s contemporaries. — The St. Petersburg period of Kondakov’s life and work: from Byzantine to Russian antiquities. The importance of his report “On the Scientific Objectives of the History of Medieval Russian Art.” — V. V. Stasov. His articles on art. The atlas The Slavonic and Eastern Ornament in Ancient and Modern Manuscripts (1887). — Problems of art and literature in works by A. I. Kirpichnikov. — Church archaeology as a subject of study and teaching in theological academies. I. D. Mansvetov, A. A. Dmitrievskii, A. P. Golubtsov. N. V. Pokrovskii and his iconographic investigations. — Art issues in E. E. Golubinskii’s History of the Russian Church. — E. K. Redin and D. V. Ainalov. Conclusion Index

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Book SynopsisBenvenuto Cellini’s Perseus and Medusa, one of Renaissance Italy’s most complex sculptures, is the subject of this study, which proposes that the statue’s androgynous appearance is paradoxical. Symbolizing the male ruler overcoming a female adversary, the Perseus legitimizes patriarchal power; but the physical similarity between Cellini’s characters suggests the hero rose through female agency. Dr. Corretti argues that although not a surrogate for powerful Medici women, Cellini’s Medusa may have reminded viewers that Cosimo I de’ Medici’s power stemmed in part from maternal influence. Drawing upon a vast body of art and literature, Dr. Corretti concludes that Cellini and his contemporaries knew the Gorgon as a version of the Earth Mother, whose image is found in art for Medici women.Table of ContentsContents Prologue vii List of Figures xvi xviii 1 The Story of Perseus and Medusa, an Interpretation of Its Meaning, and the Topos of Decapitation 1 2 Cellini’s Perseus and Medusa : The Paradigm of Control 17 3 Renaissance Political Theory and Paradoxes of Power 57 4 The Goddess as Other and Same 92 5 The Sexual Symbolism of the Perseus and Medusa 104 6 The Public Face of Justice 109 7 Classical and Grotesque Polities 127 8 Eleonora di Toledo and the Image of the Mother Goddess 137 Conclusion 154 Bibliography 157 Index 173

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Book SynopsisIn Time and the Ancestors: Aztec and Mixtec Ritual Art, Maarten Jansen and Aurora Pérez present new interpretations of enigmatic masterpieces from ancient Mexico. Combining iconographical analysis with the study of archaeological contexts, historical sources and living cultural traditions, they shed light on central symbols and values of the religious heritage of indigenous peoples, paying special attention to precolonial perceptions of time and the importance of ancestor worship. They decipher the meaning of the treasure deposited in Tomb 7 at Monte Albán (Oaxaca) and of artworks such as the Roll of the New Fire (Selden Roll), the Aztec religious sculptures and, last but not least, the mysterious chapter of temple scenes from the Book of Night and Wind (Codex Borgia).Table of ContentsList of Illustrations Preface Introduction: Temporality and coevalness 1. Mesoamerica: historical development 2. Ancient scriptures 3. The main cycles of the calendar 4. The first day-keepers 5. Denial of coevalness 6. Methodological concerns 7. Recapitulation and concluding remarks PART ONE OFFERING TO THE SACRED BUNDLES Chapter 1: Tomb 7 at Monte Albán 1. A deposition of two periods 2. The human remains in Tomb 7 3. The ancient literary context 4. Calendar dates in Tomb 7 5. Connections with Ñuu Dzaui history 6. Connections with Beni Zaa history 7. Female agency 8. Revisiting Tomb 7 9. Approaching the relics 10. Recapitulation and concluding remarks Chapter 2: Life - Death - Life 1. Tale of a grandmother 2. Nahua and Maya parallels 3. The symbolic dimension 4. Cihuacoatl and Lady 9 Grass 5. Mortuary bundles 6. Divine ancestors 7. Communication with the dead 8. The golden ornament Number 26 9. The subterraneous sanctuary 10. The internal organisation of Tomb 7 11. Recapitulation and concluding remarks Chapter 3: Hymns of jaguars and eagles 1. Flower, song 2. The tree of the dynasty 3. Treebirth at Apoala 4. The war against the stone men 5. First sunrise and the cycle of time 6. The pulque ritual 7. The realm of the dead 8. Lady 4 Rabbit ‘Quetzal’ 9. The marital alliance 10. Recapitulation and concluding remarks Chapter 4: Memory and oracle 1. Chalcatzingo: the Preclassic template 2. Occasions for precious offerings 3. The ballcourt pendant 4. The sacred flint 5. The Temple of Jewels 6. Identifying Monte Albán in the codices 7. Lady 6 Monkey at Monte Albán 8. The funerary ceremony for Lord 12 Movement 9. Recapitulation and concluding remarks PART TWO PREPARING THE NEW FIRE Chapter 5: The foundation of a dynasty 1. Pictorial manuscripts from the Coixtlahuaca Valley 2. The couple in heaven 3. Chicomoztoc 4. Religious peregrination 5. The sacred mountain 6. Primordial conquest 7. Lady 13 Alligator, the peacemaker 8. Atonal, first ruler of Coixtlahuaca 9. Lord 8 Deer and Quetzalcoatl 10. Recapitulation and concluding remarks Chapter 6: Fifth sun rising 1. The inauguration of the Templo Mayor 2. Cihuacoatl: goddess and priest 3. The Stone of Tizoc 4. The Calendar Stone 5. Moctezuma’s altar 6. The binding of 52 years 7. The ceremonial landscape of Mount Huixachtlan 8. Moctezuma and Ce Acatl 9. Recapitulation and concluding remarks Chapter 7: The Sanctuary of Night and Wind 1. Historical background of Codex Yoalli Ehecatl (Borgia) 2. Studies of Codex Yoalli Ehecatl (Borgia) 3. Point of departure for a new reading 4. Codex Yoalli Ehecatl (Borgia), page 29: vision 5. Codex Yoalli Ehecatl (Borgia), page 30: bloodletting for trees 6. Codex Yoalli Ehecatl (Borgia), page 31: transformation of death into life 7. Codex Yoalli Ehecatl (Borgia), page 32: preparing the knife 8. Codex Yoalli Ehecatl (Borgia), pages 33-34: the Temple of Heaven 9. Codex Yoalli Ehecatl (Borgia), page 35-38: opening the sacred bundle 10. Codex Yoalli Ehecatl (Borgia), pages 39-40: the Night Sun 11. Codex Yoalli Ehecatl (Borgia), page 41-42: sacrifice 12. Codex Yoalli Ehecatl (Borgia), page 43: sustenance 13. Codex Yoalli Ehecatl (Borgia), page 44: rulership 14. Codex Yoalli Ehecatl (Borgia), page 45: Venus 15. Codex Yoalli Ehecatl (Borgia), page 46: fire-making 16. Codex Yoalli Ehecatl (Borgia), page 47: men and women 17. Recapitulation and concluding remarks Synthesis: Heritage and spirit connection 1. Root symbolism 2. Tomb 7: a dynastic shrine 3. The continuous presence of Cihuacoatl 4. Intercultural time and decolonising perspective 5. Final image References Index

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Book SynopsisIn Late Antique Images of the Virgin Annunciate Spinning: allotting the scarlet and the purple, Catherine Gines Taylor traces the way early Christians assimilated the symbolism of spinning into images of the Annunciation. Taylor offers an art historical and interdisciplinary look at the earliest images of Mary spinning, underscoring the iconographic model of idealized matronage consistent with lay piety and the cult of Mary. The personal and domestic nature of this motif is evidence toward popular Mariological devotion that preceded the exclusive, semi-divine presentation of the Theotokos, and stands in contrast with traditional ascetic models for Mary.Table of ContentsList of Figures Introduction. Preceding the Ascetic Type: Earliest Images of the Virgin Annunciate Spinning  1 The Protoevangelium of James: A Contemporary Apocryphum  2 Methodological Considerations  3 Patristic Considerations 1 The Roots and Precedents  1 Catacombs of Priscilla, Cubiculum P—The First Annunciation  2 Spinning and Roman Public Display: Minerva and Domition’s Forum Transitorium  3 Spinning in Legend  4 Spinning Iconography amongst Elites and Non-Elites in Roman Society  5 The Attributes of Virtue: Spinning in Proverbs and the Jewish Tradition  6 Conclusions 2 The Maiden. The Domestic Cult of Mary: Imitatio Mariae and Spinning a Sacred Conversation  1 Mary the Maiden  2 Annunciation Iconography and the Domestic Cult of Mary  3 Maiden’s Tools: Sacred, Profane, Mundane  4 The Maiden Imaged as the Ascetic  5 Marian Devotion as Counter-Ascetic  6 Proclus and the Constantinopolitan Tradition of Imitatio Mariae  7 Imitatio Mariae and the Syriac Tradition of the Domestic Annunciation  8 Conclusions: Work as a Sacred Conversation and a Life Pleasing to God 3 The Matron  1 Marriage Art and Marriage Rings  2 The Annunciation as Privileged Iconography: Ring Descriptions  3 The Fifth-Century Legal Context and Family Life  4 The Paraphernalia of Married Fertility and Early Church Councils  5 Children, “An Inheritance of the Lord”  6 Conclusions 4 The Household  1 Women in Purple: Privileged Patronage  2 Women in Linen and Wool: Domestic Piety and Patronage  3 Late Antique Textiles and the Domestic Sphere  4 Textile Patronage in Panopolis  5 The Abegg-Stiftung “Mary Silk”  6 A Linen Burial Cloth from the Victoria and Albert Museum  7 Later Comparative Textiles  8 Burial Garments and the Threshold of Death  9 Conclusions 5 Memorial  1 Comparisons from the Grave: Other Roman Catacombs  2 The Pignatta Sarcophagus  3 Patristics in Ravenna  4 Attitudes toward Death and Salvation  5 Phrygian Tombstones  6 Conclusions Conclusion. The Virgin Annunciate Spinning: A Matronly Model, “In Whom All Opposites are Reconciled”  1 Santa Maria Maggiore  2 Final Thoughts Bibliography Index

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Book SynopsisAt the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history. Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov.Trade Review“Some of these essays will become immediately indispensable for further research. There is so much knowledge and expertise invested in each essay that it would be impossible to find a common denominator to unite them all.” Jeffrey Muller, Brown University. In: Journal of Jesuit Studies, Vol. 5, No. 4 (November 2018), pp. 661-666.Table of ContentsAcknowledgments Notes on the Editors Notes on the Contributors List of Illustrations Introduction: Connected Worlds—The World the Worldly and the Otherworldly: An Introduction  Mia M. Mochizuki Part 1: The World’s ‘Idols’ 1 Extraordinary Things: ‘Idols from India‘ and the Visual Discernment of Space and Time, circa 1600’  Christine Göttler 2 Arabic Inscriptions in the Service of the Church: An Italian Textile Evoking an Early Christian Past?  Denise-Marie Teece 3 Materiality and Idolatry: Roman Imaginations of Saint Rose of Lima  Tristan Weddigen Part 2: Parables of Contact 4 Ut Pictura Lex: Jan David, S.J., on Natural Law and the Global Reach of Christian Images  Walter S. Melion 5 Translating the Sacred: The Peripatetic Print in the Florentine Codex, Mexico (1575–1577)  Jeanette Favrot Peterson 6 The Value of Misinterpretation in Cultural Exchange: The Transfer of Christian Prints from the West to Japan  Yoriko Kobayashi-Sato 7 Propagatio Imaginum: The Translated Images of Our Lady of Foy  Ralph Dekoninck Part 3: Material Alchemies 8 ‘Mass’ Produced Devotional Paintings in the Andes: Mobility, Flexibility, Visual Habitus  Evonne Levy 9 Gems of Sacred Kingship: Faceting Anglo-Mughal Relations around 1600  Christiane Hille 10 Cultured Materiality in Early Modern Art: Feather Mosaics in Sixteenth-Century Collections  Margit Kern 11 Making Marvels—Faking Matter: Mediating Virtus between the Bezoar and Goa Stones and Their Containers  Beate Fricke Part 4: Relic Values 12 Naked Bones, Empty Caskets, and a Faceless Bust: Christian Relics and Reliquaries between Europe and Asia during Early Modern Globalisation  Urte Krass 13 Virgin Skulls: The Travels of St. Ursula’s Companions in the New World  Rose Marie San Juan 14 Relic or Icon? The Place and Function of Imperial Regalia  Akira Akiyama 15 Relics Management: Building a Spiritual Empire in Asia (Sixteenth and Seventeenth Centuries)  Ines G. Županov Part 5: ‘Netted’ Works 16 The Seven Sorrows of the Virgin: Spreading a New Cult via Dynastic Networks  Dagmar Eichberger 17 Early Modern Incense Boats: Commerce, Christianity, and Cultural Exchange  Jeffrey L. Collins and Meredith Martin 18 Journeys, Real and Imaginary, in China and Europe: Cartography, Landscape, and Travel around 1600  James Clifton 19 Arrivals at Distant Lands: Artful Letters and Entangled Mobilities in the Indian Ocean Littoral  Dipti Khera Index Nominum

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Book SynopsisIn Religion and the Arts: History and Method, Diane Apostolos-Cappadona presents an overview of the 19th century origins of this discrete field of study and its methodological journey to the present-day through issues of repatriation, museum exhibitions, and globalization. Apostolos-Cappadona suggests that the fluidity and flexibility of the study of religion and the arts has expanded like an umbrella since the 1970s - and the understanding that art was simply a visual exegesis of texts - to now support the study of material, popular, and visual culture, as well as gender. She also delivers a careful analysis of the evolution of thought from traditional iconographies to the transformations once scholars were influenced by response theory and challenged by globalization and technology. Religion and the Arts: History and Method offers an indispensable introduction to the questions and perspectives essential to the study of this field.Trade Review'This short monograph (...) can be especially recommended to anyone either conducting or contemplating postgraduate research within an increasingly complex subject area (...). More seasoned scholars, too, seeking to identify the provenance, current trends, and future direction of their own research, will learn much from a text which at a mere 80 pages, is a miracle of compressed clarity, cultural breadth, and long-fermented relection. It also includes a wide-ranging, thematic, and up-to-date bibliography.' Graham Howes, Trinity Hall, Cambridge, Art and Christianity 95, autumn 2018 'In the first volume of the new Brill Research Perspectives series, Religion and the Arts: History and Method, editor-in-chief Diane Apostolos-Cappadona presents the reader a remarkable introduction, an overview, and a plethora of future perspectives (...) Although initially appearing as a neatly boxed topic, the relationship between religion and the arts provides an almost endlessly expanding field. As such, this inaugural Brill Research Perspectives volume is a brave undertaking, as well as a welcome resource for scholars trying to find their way in this vast field of opportunity.' Lieke Wijnia, Groningen University and University College Tilburg, Reading Religion, January 2019.

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Book SynopsisWhat is Protestant Art? presents an introduction to Protestant visual culture from the Reformation to the present. Examining historical images as evidence of changing practices and attitudes, Andrew T. Coates explores three major themes in the history of Protestant visual culture: 1) the religious work of images, 2) the relationship between word and image, 3) the power of the Bible and its visual representation. The book analyses images such as prints, paintings, maps of the ‘Holy Land,’ and Bible illustrations to demonstrate the broad range of images that could be classified as Protestant ‘art.’ This work argues that the variety of images and visual practices throughout Protestant history might better be described by the term ‘visual culture’ than ‘art.’

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Book SynopsisIn Lives of the Prophets: The Illustrations to Hafiz-i Abru’s “Assembly of Chronicles” Mohamad Reza Ghiasian analyses two extant copies of the Majmaʿ al-tawarikh produced for the Timurid ruler Shahrukh (r. 1405–1447). The first manuscript is kept in Topkapı Palace and the second is widely dispersed. Codicological analysis of these manuscripts not only allows a better understanding of Hafiz-i Abru’s contributions to rewriting earlier history, but has served to identify the existence of a previously unrecognised copy of the Jamiʿ al-tawarikh produced at Rashid al-Din’s scriptorium. Through a meticulous close reading of both text and image, Mohamad Reza Ghiasian convincingly proves that numerous paintings of the dispersed manuscript were painted over the text before its dispersal in the early twentieth century.Trade Review"Through a detailed reading of both text and image, Lives of the Prophets: The Illustrations to Hafiz-i Abru’s “Assembly of Chronicles” sets the standard for the codicologically-driven study of Persian illustrated manuscripts." - Yuka Kadoi, University of Vienna, in: Abstracta Iranica 40-41 (2019) "This tightly conceived and clearly written study is, as Charles Melville states in the preface (p. x), a masterpiece of “forensic detective work” in unraveling the complex history of Hafiz-i Abru’s universal chronicle. It will readily interest art historians who work on Iran and its neighbors, from Mongol times onwards. [...] the author's careful study has much information that will also interest historian and historiographers." - Sheila Blair, Boston College, in: Iranian Studies (2019) “The real power of this book is in the brilliant reconstruction of the fragmented or dispersed manuscripts of both Jāmiʿ al-tawārīkh and Majmaʿ al-tavārīkh, the translation of sections from Ḥāfiẓ-i Abrū’s text, and the sets of iconographic comparisons. Together these form a solid basis for future studies in the field, and, at the same time, offer an interesting picture of Islamic biblical and prophetic iconography within a specific historical context. “- Rachel Milstein The Hebrew University, Jerusalem, in JAOS (2020)Table of ContentsForeword Acknowledgements Figures and Tables Introduction  1 Chapter Summary  2 Note on Appendices, Translation, Transliteration and Dates 1 The Political and Cultural Setting  1 Political History  2 The Legitimation of Shahrukh’s Rule  3 Foreign Relations  4 Personal Traits of Shahrukh  5 Art Patronage 2 Book Production under Shahrukh  1 The Surviving Manuscripts  2 Hafiz-i Abru’s Kulliyat-i tarikhi  3 Rashid al-Din’s Jamiʿ al-tawarikh (Hazine 1654)  4 Nizami’s Khamsa of 835/1431 in the Hermitage Museum  5 Nizami’s Khamsa Known as the Cartier Khamsa  6 Jamiʿ al-tawarikh of the Bibliothèque Nationale  7 Miʿrajnama and Tazkirat al-awliya‌ʾ of the Bibliothèque Nationale 3 Majmaʿ al-tawarikh and Its Surviving Illustrated Copies  1 The Life of Hafiz-i Abru  2 Hafiz-i Abru’s Works  3 Majmaʿal-tawarikh  4 Stories of the Prophets and the Majmaʿ al-tawarikh  5 The Surviving Illustrated Copies of the Majmaʿ al-tawarikh  6 Hazine 1653  7 The Illustration Cycle of the Timurid Parts of Hazine 1653  8 Some Remarks on Foreign Relations as Reflected in these Manuscripts  9 The “Divided Manuscript” as a Hitherto Unknown Copy of the Jamiʿ al-tawarikh Produced at the Rabʿ-i Rashidi  10 The Dispersed Manuscript  11 Paintings Added Later to the Dispersed Manuscript  12 Shahrukhi Illustrations of the Dispersed Manuscript 4 Stylistic Analysis  1 Human Figures  2 Architectural Forms and Natural Life  3 Battle Scenes  4 Enthroned Figures Catalogue: The Illustrations of the Prophets  1 Cat. 1: Adam Orders Abel and Cain to Sacrifice  2 Cat. 2: The Ark of Noah  3 Cat. 3: The Prophet Salih and the She-Camel  4 Cat. 4: Abraham in the Fire  5 Cat. 5: Abraham Sacrifices His Son  6 Cat. 6: The Prophet Jacob and His Twelve Sons  7 Cat. 7: Joseph before the Women of Egypt  8 Cat. 8: The Prophet Job’s Distress  9 Cat. 9: Moses Prevails over Pharaoh  10 Cat. 10: Moses and the Israelites Watch the Egyptians Drown in the Sea  11 Cat. 11: Moses Orders the Israelites to Sacrifice a Cow  12 Cat. 12: Moses and Korah  13 Cat. 13: Moses Striking the Giant ʿUj’s Ankle  14 Cat. 14: Solomon among Demons, Fairies, Wildlife and Birds  15 Cat. 15: Jesus Brings Back to Life Shem, the Son of Noah  16 Cat. 16: Jonah and the Whale  17 Cat. 17: Excavation of the Well of Zamzam  18 Cat. 18: The Birth of the Prophet Muhammad  19 Cat. 19: Muhammad’s Call to Prophecy and the First Revelation  20 Cat. 20: The Prophet Converts Abu Bakr Conclusion Appendix 1: Translation of the Illustrated Episodes of the Lives of the Prophets Based on Hazine 1653  1 The Children and the Descendants of Adam  2 Concerning the Life of the Prophet Noah  3 Salih and the People of Thamud  4 The Story of Abraham: From the Birth up to the Beginning of the Migration  5 Abraham Sacrifices His Son  6 Concerning Jacob  7 The Tale of Joseph and Zulaykha  8 The Story of Job  9 Moses’ Coming to Egypt and Delivering the Message to Pharaoh  10 Moses and the Israelites’ Departure from Egypt and the Drowning of Pharaoh and his People  11 The Corpse that was Found among the Israelites  12 Moses and Korah  13 Moses and the People of ʿAd and ʿUj ibn ʿUnuq  14 The Story of Bilqis and the City of Sheba  15 Jesus’ Coming to Jerusalem  16 The Prophet Jonah  17 Excavation of [the Well of] Zamzam  18 The Birth of [the Prophet] Mustafa  19 The First Divine Revelation and the Beginning of the Apostle’s Mission  20 Conversion of the Companions and Disagreement of Scholars about the First One who Converted to Islam Appendix 2: Headings and Illustrations in Hazine 1653  1 Key Appendix 3: Location of Paintings so Far Identified as Later Additions in the Dispersed Manuscript (Second Style) Appendix 4: Location of Paintings so Far Identified as Later Additions in the Dispersed Manuscript (Third Style) Bibliography

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Book SynopsisFor the writers and artists in In-Between Identities: Signs of Islam in Contemporary American Writing, contemporary Muslim American identity is neither singular nor fixed. Rather than dismiss the tradition in favor of more secular approaches, however, all of the figures here discover in Muhammad’s revelation resources for affirming such uncertainty. For them, the Qur’anic notion of a divine “sign” validates creation, even that creativity born of contrasting if not competing assumptions about identity. To develop this claim, individual chapters in the book discuss Muslim faith in the work of poets Naomi Shihab Nye, Kazim Ali, Tyson Amir and Amir Sulaiman; novelists Mohja Kahf, Rabih Alameddine, and Willow Wilson; illustrator Sandow Birk; playwright Ayad Akhtar; and the online record of the 30 Mosques in 30 Days project.Table of ContentsAcknowledgments Introduction—Words Beneath Words 1 Traveling with an American Qur’an: Sandow Birk and the Thirty Mosques in Thirty Days Project  1 Plurality Across 30 Mosques  2 Everyday Bonds: Living Muslim Lives in America  3 Assembling the Stories of 30 Mosques  4 Sandow Birk and Scenes for an American Qur’an  5 Bending Borders in an American Qur’an  6 Tradition as a Ritual Process of Communication 2 “Learning to Pray All Over”: The Body in Mohja Kahf’s Poetry and Fiction  1 Marvelous Women  2 The Language of the Body  3 (Un)moored  4 Just Being 3 “Are You A Muslim or Will You Love?” Dropping the Veil in Kazim Ali’s Writing  1 The Body in Space  2 Patterns in and of the Body 4 Begun in Mystery: Ayad Akhtar’s Fiction and Drama  1 Visible Lives, Invisible Hands  2 The Invisible Hand  3 Akhtar’s Islam  4 Faith and the Body  5 Disgraced 5 “Sometimes I Feel Me”: Between Faith and Resistance in the Poetry of Blackamerican Islam  1 Amir Sulaiman  2 Blueprint 6 Where Hope Begins: The Intertextual Worlds of Rabih Alameddine  1 Intertextual Violence and Identity  2 Violence, Identity, Hope Conclusion—“Half In, Half Out”: Willow Wilson and Ms. Marvel to the Rescue Bibliography Index

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Book SynopsisThis volume is a pioneer study focused on a corpus of 89 fragments of exquisitely illuminated manuscripts that were produced under the patronage of the Turkic-speaking Uygurs in the Turfan region of East Central Asia between the 8th and 11th centuries CE. Through detailed analyses and interpretations aided by precise computer drawings, the author introduces an important group of primary sources for future comparative research in Central Asian art, mediaeval book illumination, and Manichaean studies.Trade Review"This is a superb study which is richly illustrated by a range of images - many in colour. [...] This volume casts light on the wider phenomenon of Manichaesanism by using the material remains of one signigican community to gain insight into the artistic and textual practices of theat group.This is a highly significant volume that makes a major contribution to manichaen studies." – Paul Foster, University of Edinburgh, in: The Expository Times 121 (2009)Table of ContentsPreface Introduction I. The Corpus of Manichaean Book Art II. The Dates of the Remains III. Artistry of Book Makers, Scribes, and Illuminators IV. Patterns of Page Arrangements V. The Written and Painted Message Bibliography Index

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Book SynopsisHoly Organ or Unholy Idol? focuses on the significance of the cult of the Sacred Heart of Jesus and its accompanying imagery in eighteenth-century New Spain. Lauren G. Kilroy-Ewbank considers paintings, prints, devotional texts, and archival sources within the Mexican context alongside issues and debates occurring in Europe to situate the New Spanish cult within local and global developments. She examines the iconography of these religious images and frames them within broader socio-political and religious discourses related to the Eucharist, the sun, the Jesuits, scientific and anatomical ideas, and mysticism. Images of the Heart helped to champion the cult’s validity as it was attacked by religious reformers.Table of ContentsAcknowledgments List of Figures and Tables List of Abbreviations Introduction 1 Shaping the Devotion 2 Matters of the Heart 3 Reading, Meditating, Fixating 4 The Eucharistic Heart 5 Christ’s Heart as the Sacramented Sun 6 Divine Champions 7 Politicizing the Heart after 1767 Conclusion: Forming a New History of the Sacred Heart Bibliography Index

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Book SynopsisIn Modern Jewish Art: Definitions, Problems, and Opportunities, Ori Z. Soltes considers both the emerging and evolving discussion on, and the expanding array of practitioners of ‘Jewish art’ in the past two hundred years. He notes the developing problem of how to define ‘Judaism’ in the 19th century—as a religion, a culture, a race, a nation, a people—and thus the complications for placing ‘Jewish art’ under the extended umbrella of ‘religion and the arts.’ The fluidity with which one must engage the subject is reflected in the broadening conceptual and visual vocabulary, the extended range of subject foci and media, and the increasingly rich analytical approaches to the subject that have surfaced particularly in the past fifty years. Well-known and little-known artists are included in a far-ranging discussion of painting, sculpture, photography, video, installations, ceremonial objects, and works that blur the boundaries between categories.

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Book SynopsisIn Augustinian Art and Meditation in Renaissance Florence, Antonia Fondaras reunites the fifteenth-century altarpieces painted by Botticelli, Piero di Cosimo, Filippino Lippi, and other masters for the choir of the Augustinian church of Santo Spirito in Florence. Departing from a conventional focus on artist and patron, the author illuminates the engagement of the Augustinian Hermit friars with the composition and iconography of these pictures, and discusses how they were used to fashion the choir into a space suited to the friars’ institutional and spiritual ideals. Fondaras includes a close reading of the choir’s most compelling and original altarpieces, which were grounded in the writings of Augustine and provided a focal point for the friars’ sophisticated meditative practices.Table of ContentsList of Illustrations Introduction: The Fifteenth-Century Altarpiece Decoration of the Santo Spirito Choir part 1: The Influence of the Friars 1 Saint Augustine, the Augustinian Hermits, and the Convent of Santo Spirito  1 Saint Augustine: the Ascent to Wisdom and the Journey of Love  2 The Order of the Augustinian Hermits  3 Augustinian Art  4 The Convent of Santo Spirito 2 The Santo Spirito Choir and the Presence of the Friars  1 Building the New Church  2 Encountering the Architecture  3 Furnishing the Church  4 Creating Augustinian Space  5 The Choir as Marian Space  6 The Choir Chapels: Itineraries of Augustinian Influence 3 The Santo Spirito Format: Fashioning Sacred Space  1 The Santo Spirito Format: Spatial Continuity and Figural Presence  2 Shared Space  3 Heaven and the Choir  4 The Santo Spirito Format, Simplicity, and Devotional Viewing  5 Ornament and the Perfected Space part 2: Art and Meditation in the Santo Spirito Choir 4 Discursive Meditation and Botticelli’s Bardi Altarpiece  1 Meditation and the Choir Altarpieces  2 The Bardi Altarpiece 5 Hope and the Virtues: Piero di Cosimo’s The Visitation with Saints Nicholas of Bari and Anthony Abbot  1 The Commission and the Painting  2 Saints Nicholas of Bari and Anthony Abbot  3 The Landscape  4 The Inscription  5 The Reconciliation of the Virtues  6 The Reconciliation of the Testaments and the Covenant of Grace 6 Caritas and Family: Filippino Lippi’s Nerli Altarpiece  1 The Patron and the Painting  2 The Geography of the Nerli Altarpiece: Separate and Conjoined Spaces  3 Painting Charity  4 Augustinian Charity: the Judgment of Love  5 Marriage and Charity  6 Charity and the Nerli Marriage 7 Faith and the Mirror of God: Agnolo del Mazziere’s The Holy Trinity with Saints Mary Magdalen and Catherine of Alexandria  1 The Altarpiece  2 The Trinity as Throne of Grace  3 The Saints in Contemplation  4 Saint Augustine and the Trinity  5 The Throne of Grace as the Visionary  6 The Landscape: “The Things That Are Made”  7 Contemplation and the Visio Dei Conclusion: The Santo Spirito Altarpiece Bibliography Index

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Book SynopsisThe Gouda Windows (1552–1572): Art and Catholic Renewal on the Eve of the Dutch Revolt offers the first complete analysis of the cycle of monumental Renaissance stained-glass windows donated to the Sint Janskerk in Gouda, after a fire gutted it in 1552. Central among the donors were King Philip II of Spain and Joris van Egmond, Bishop of Utrecht, who worked together to reform the Church. The inventor of the iconographic program, a close associate to the bishop as well as the king, strove to renew Catholic art by taking the words of Jesus as a starting point. Defining Catholic religion based on widely accepted biblical truths, the ensemble shows that the Mother Church can accommodate all true Christians.Table of ContentsForeword List of Illustrations X Note to the Reader XVii Introduction 1 Patronage  1.1 A Clean Slate  1.2 Clerical Patrons  1.3 Royal and Noble Donors  1.4 Employing the Artists 2 The Choir: He Must Increase, and I Must Decrease  2.1 John the Baptist as a Foil to Christ  2.2 An Elusive Written Program  2.3 Testimony about Christ  2.4 Imprisonment and Death  2.5 The Bible and St. Augustine  2.6 Beyond St. Augustine: Erasmus and Herman Lethmaet  2.7 The Apostle Series in the Clerestory 3 The Transept: There Shall No Sign Be Given  3.1 A Separate Program?  3.2 The King’s Window  3.3 Margaret of Parma’s Gift  3.4 Jonah and Bileam  3.5 Turmoil in the Temple 4 The Nave: ‘But Ye Shall Receive Power’  4.1 Elburga van den Boetzelaer and the Queen of Sheba  4.2 Margaret of Arenberg as a Second Judith  4.3 Philip de Ligne, a Crippled Warlord Praying to Be Healed  4.4 Choir, Transept and Nave: One Narrative?

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Book SynopsisIn The Cross in the Visual Culture of Late Antique Egypt Gillian Spalding-Stracey brings the design of crosses in monastic and ecclesiastical settings to the fore. Visual representations of the Holy Cross are often so ubiquitous in Christian art that they are often overlooked as artistic devices themselves. This volume offers an exploration of the variety of designs and associated imagery by which the Cross was expressed across the Egyptian landscape in late antiquity. A survey of locations and images leads to an analysis of artistic influences, possible symbolism, variance across time and place and the contextual use of the motif. Gillian Spalding-Stracey provides the reader with an art-historical perspective of the socio-cultural situation in Egypt at the time.Table of ContentsPreface Acknowledgements List of Illustrations 1 The Cross in Early Christian Egypt 2 Survey of Significant Egyptian Crosses  1 The Survey 3 Material, Techniques and the Issue of Authenticity  1 Paint/Pigment  2 Carving – Stone, Wood, Ivory  3 Textiles  4 Metalwork  5 Ceramics  6 The Issue of Authenticity 4 The Design and Symbolism of Egypt’s Crosses  1 The Four Basic Types of Late Antique Egyptian Crosses  2 Design and Symbolism 5 Design, Dating and Location  1 Date and Location of the Basic Types  2 Dating and Location of the Design Elements 6 Design in Context  1 Secular Objects and Settings  2 Sacred and Sacralised Objects and Spaces  3 Summary 7 The Standing of the Cross in Late Antique Egypt Maps Figures Appendix: Selected Anaphoras Bibliography Index

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Book SynopsisThe Catholic Church answered Reformation-era contestations of the cult of images in a famous decree of the Council of Trent (1563). Art in Dispute revisits this response by focusing on its antecedents rather than its consequences. The mid-sixteenth century saw, besides new scholarship on Byzantine doctrines, heated debates about neo-scholastic interpretations. Disagreement, suppressed at Trent but re-emerging soon afterwards, centered on the question whether religious images were solely signs referring to holy subjects or also sacred objects in their own right. It was a debate with major implications for art theory and devotional practice. The volume contains editions and translations of texts by Martín Pérez de Ayala, Matthieu Ory, Jean Calvin, Ambrogio Catarino Politi, and Iacopo Nacchianti, along with a previously unknown draft of the Tridentine decree.Trade Review“Wietse de Boer’s superb book delves into the intense mid-sixteenth-century debates among Catholic scholars, about sacred images. […] I strongly recommend this book to anyone interested in the early modern image debate. De Boer enriches our understanding of the heterogeneous opinions and intense discussions among leading Catholic theologians before, during, and after 1563.” Jeffrey Chipps Smith, University of Texas, Austin. In: Church History, Vol. 91, No. 4 (December 2022), pp. 925–926. “De Boer setzt einen neuen Standard […] und leistet einen zentralen Beitrag zur aktuellen Reflexion über den medialen und ontologischen Status von Bildern.” Theresa Gatarski, Bayerisches Nationalmuseum. In: Kunstchronik, Vol. 75, No. 12 (December 2022), pp. 609–614. "essential contribution" Ralph Dekoninck, Université catholique de Louvain. In: Francia-Recensio, 2023/2.Table of ContentsPreface List of Illustrations Abbreviations Part 1: History 1 Premises: The Sacred Image in an Age of Religious Crisis  1 The Thomist View and Its Critics  2 Early Catholic Responses to Reformation Critiques  3 The Image Question in the Mid-Sixteenth Century  4 Marcello Cervini and the Image Debate 2 Disputes: The Sacred Image and the Counter-Reformation  1 The Traditions of Martín Pérez de Ayala  2 In Defense of Thomism: Matthieu Ory  3 Ory and Calvin  4 How to Honor Images: Ambrogio Catarino  5 Nacchianti’s Road to Orthodoxy 3 Reverberations: St. Germain, Trent, and Beyond  1 On the Sidelines of Trent: Eliseo and Ninguarda  2 Diego Laínez between St. Germain and Trent  3 Trent: The French Connection  4 A Previously Unknown Draft  5 A Question about Honor  6 Beyond Trent: Paleotti to Bellarmino  7 Conclusion Part 2: Documents Note on Editions and Translations I Martín Pérez de Ayala  Corollarium de imaginibus sanctorum / Corollary Concerning the Images of Saints II Matthieu Ory  De cultu imaginum / The Worship of Images III Matthieu Ory – Jean Calvin  Opposing Views on Sacred Images IV Ambrogio Catarino Politi  Disputatio de cultu et adoratione imaginum / Disputation on the Worship and Adoration of Images V Iacopo Nacchianti  Digressio de imaginum usu ac cultu in ecclesia dei / Digression about the Use and Worship of Images in God’s Church VI Council of Trent  Draft of the Decree on Saints, Relics, and Images / Draft of the Decree on Saints, Relics, and Images Appendices Selected Bibliography Index

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Book SynopsisOver the course of his career, Andrea del Sarto (1486–1530) created altarpieces rich in theological complexity, elegant in formal execution, and dazzlingly brilliant in chromatic impact. This book investigates the spiritual dimensions of those works, focusing on six highly-significant panels. According to Steven J. Cody, the beauty and splendor of Andrea’s paintings speak to a profound engagement with Christian theories of spiritual renewal—an engagement that only intensified as Andrea matured into one of the most admired artists of his time. From this perspective, Andrea del Sarto — Splendor and Renewal in the Renaissance Altarpiece not only shines new light on a painter who has long deserved more scholarly attention; it also offers up fresh insights regarding the Renaissance altarpiece itself.Trade Review“Steven Cody’s beautifully illustrated work on Andrea del Sarto brings an original and refreshing point of view on the artist. […] Worthy of notice are Cody’s artful descriptions of Andrea del Sarto’s works: these reveal a keen eye, sensitive to the most minute variation of color.” Louise Arizzoli, University of Mississippi. In: Renaissance Quarterly, Vol. 77, No. 2 (Summer 2023), pp. 660–661.Table of Contents Acknowledgements  List of Illustrations Introduction  1 Painted Mysteries  2 The Painter without Errors  3 Andrea and the Monographic Tradition  4 Art, Renewal, and Reform 1 Sight and Touch in the Noli me tangere  1 Touching Christ  2 Flesh and Facture  3 Figures and Figurae 2 The Sweetness of the San Gallo Annunciation  1 Conceiving Christ  2 “A Sweet Word, but a Sweeter Act”  3 Gloria 3 Light from the Light of the Madonna of the Harpies  1 The Pursuit of Brilliance  2 “Like a Divine Fire”  3 “The Supreme Illumination of our Mind”  4 Among the Visionaries 4 Sight and Sighs in the Disputation on the Trinity  1 Paradigms of Renewal  2 Among the Visionaries, Again  3 Attending to Color 5 The Splendor of the Luco Pietà  1 Christ’s Death in Living Memory  2 The Bread of Life in Living Color  3 The Manner of Christ’s Death 6 Light from the Shadows in the Gambassi Altarpiece  1 Spiritual Transactions  2 Embodied Prayer  3 To “Rest in the Shadow of the Almighty” Epilogue Bibliography Index

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Book SynopsisQuid est secretum? Visual Representation of Secrets in Early Modern Europe, 1500–1700 is the companion volume to Intersections 65.1, Quid est sacramentum? Visual Representation of Sacred Mysteries in Early Modern Europe, 1400–1700. Whereas the latter volume focused on sacramental mysteries, the current one examines a wider range of secret subjects. The book examines how secret knowledge was represented visually in ways that both revealed and concealed the true nature of that knowledge, giving and yet impeding access to it. In the early modern period, the discursive and symbolical sites for the representation of secrets were closely related to epistemic changes that transformed conceptions of the transmissibility of knowledge. Contributors: Monika Biel, Alicja Bielak, C. Jean Campbell, Tom Conley, Ralph Dekoninck, Peter G.F. Eversmann, Ingrid Falque, Agnès Guiderdoni, Koenraad Jonckheere, Suzanne Karr Schmidt, Stephanie Leitch, Carme López Calderón, Mark A. Meadow, Walter S. Melion, Eelco Nagelsmit, Lars Cyril Nørgaard, Alexandra Onuf, Bret L. Rothstein, Xavier Vert, Madeleine C. Viljoen, Mara R. Wade, Lee Palmer Wandel, and Caecilie Weissert.Table of ContentsContents Acknowledgements Notes on the Editors Notes on the Contributors List of Illustrations Introduction: What’s in a Secret?  Ralph Dekoninck, Agnès Guiderdoni, and Walter S. Melion part 1: The Spiritual locus of Secret 1 In the Secrecy of the Cell: Late Medieval Carthusian Devotional Imagery and Meditative Practices in the Low Countries  Ingrid Falque 2 Jesus, Mary, and Joseph as Artisans of the Heart and Soul in Manuscript MPM R 35 Vita S. Ioseph beatissimae Virginis sponsi of ca. 1600  Walter S. Melion 3 Symbols and (Un)concealed Marian Mysteries in the First Litany of Loreto Illustrated with Emblems: Peter Stoergler’s Asma Poeticum (Linz, 1636)  Carme López Calderón 4 ‘Teach Me, Reveal the Secret to My Heart’: the Role of a Spiritual Guide in the Meditative Works of Marcin Hińcza  Alicja Bielak part 2: Science and Secrecy 5 Of Grids and Divine Mystery: Gerard Mercator’s Revelation  Lee Palmer Wandel 6 What Did They See?: Science and Religion in the Anatomical Theatres of the Sixteenth and Seventeenth Centuries  Peter G.F. Eversmann part 3: The Secret in Matter 7 The Sienese Goldsmith and the Secrets of Florentine Disegno  C. Jean Campbell 8 An Open and Shut Case: On the Dialectic of Secrecy and Access in the Early-Modern Kunstkammer  Mark A. Meadow 9 Mysterious Noises: Orphic Strings, Rough Music, and the Sounds of Early Modern Ornament Prints  Madeleine C. Viljoen 10 ‘Insettinghe’ and ‘yegelijcx conversatie’: Understanding of the Image on the Eve of Baroque  Koenraad Jonckheere 11 Roger de Piles and the Secret of Grace  Caecilie Weissert part 4: Secrecy and Sanctity: Negotiating Secular and Sacred Registers of the Secret 12 In Abscondito: Visuality and Testimony in Raphael’s Transfiguration  Xavier Vert 13 Secrets of the Dark: Rembrandt’s Entombment (c. 1654)  Alexandra Onuf 14 Poussin and Richeome: Mystery and Figurability  Ralph Dekoninck 15 Portrait or Parable?: Pierre Mignard and the Mystery of Madame de Maintenon  Eelco Nagelsmit & Lars Cyril Nørgaard part 5: Secrets of the Ars symbolica: Emblems and Enigmas 16 Secret est à louer: Secrets and Secrecy in French Baroque Cartography, 1580–1640  Tom Conley 17 Hidden in Plain Sight: Melchior Lorck’s Emblematized Adages  Mara R. Wade 18 To Hide is to Reveal: the Paradox of Representing Secrets  Agnès Guiderdoni part 6: Challenges of the Secret: Publicity, Performance, and Play 19 Getting to How-To: Chiromancy, Physiognomy, Metoscopy and Prints in Secrets’ Service  Stephanie Leitch 20 The Answer Lies in the Eye of the Beholder: the Emblematic Ceiling Program in the Town Hall of Gdańsk  Monika Biel 21 Convents, Condottieri, and Compulsive Gamblers: Hands-On Secrets of Lorenzo Spirito’s Libro  Suzanne Karr Schmidt 22 Secrecy and the Understanding of Small Things in Early Modern Italy  Bret L. Rothstein Index Nominum

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Book SynopsisThis slim volume offers a thematic exploration of religion and the digital arts. Over the course of six brief sections, this extended essay examines identity and community, authority and authenticity, word and image, ritual and practice, body and space, and myth and faith. Each of these paired sets is explored in concert with technologically inflected correlates. For instance, identity and community are paired with avatars and networks. These twin concepts provide the thematic anchor of each section. Each section looks at four works of digital art with each work employing digital technology in a unique way. The works include virtual and augmented reality pieces, 3D printed sculptures, digital photography, and digitally enabled performance pieces and installations and span the late 1990s to the present. This essay is an introduction to religion and the digital arts and, while no single conclusion can be drawn from such an expansive and diverse field, the reassertion of the religious and theological importance of the body and emotions in the face of digital technology emerges as a recurrent theme.Table of ContentsReligion and the Digital Arts  J. Sage Elwell Abstract Keywords  Introduction  1 Identity and Community: Avatars and Networks  2 Authority and Authenticity: Surveillance and Resistance  3 Word and Image: Code and Artifact  4 Ritual and Practice: Performance and Participation  5 Body and Space: (Dis)Embodiment and Enhancement  6 Myth and Faith: Screens and Goggles  Conclusion  References

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Book SynopsisReligious Narratives in Contemporary Culture: Between Cultural Memory and Transmediality analyses the meaning and role of religion in western cultural practices in the twenty-first century. This inquiry situates itself at the intersection between cultural memory studies and the transmedial study of narrative and art. Contributors focus on genres which have yet to receive significant critical attention within the field, including speculative fiction films and television series, autobiographical prose and poetry, and action-adventure video games. In this time of crisis, where traces of religious thinking still persist in the presence or absence of religious faith, this volume’s collective look into some of their cultural embodiments is necessary and timely. The volume is addressed primarily to scholars and students interested in intersections between religious and cultural studies, revisions of traditional religious narratives, literature as a space of reflection on today's world, contemporary media studies and remediation. Maria-Sabina Draga Alexandru's editing work in the last stages of this volume was supported by a grant of the Romanian Ministry of Education and Research, CNCS – UEFISCDI, project number PN-III-P3-3.6-H2020-0035.Table of ContentsList of Figures Notes on Contributors Introduction   Maria-Sabina Draga Alexandru and Dragoș Manea PART 1 Negotiations between the Spiritual and the Secular 1 Going Boldly Where Few Have Gone Before  Science, Religion and Life-Writing in the Poetry of Elizabeth Bishop and Tracy K. Smith   Marcel Inhoff 2 Roman Catholic Religion and Folk Religiosity in the Fiction of Contemporary American Writers of Polish Descent  An Analysis of Selected Works by Stuart Dybek   Sonia Caputa 3 “A Secular Mind Searching for Its Lost Love”  Mourning, Religion, and the Return of the Dead in Meghan O’Rourke’s The Long Goodbye   Mihaela Precup PART 2 Oppression and Resistance 4 Cultural Memory and Political Resistance through Religious/Spiritual Art in (Post-) Communist Romania   Maria-Alina Asavei 5 The Rhetoric of the Body of Christ and the Pitfalls of American Democracy   Olga V. Solovieva 6 Evil Nuns and Useless Priests  On the Representation of Christianity in Contemporary Historical Fantasy Television Series   Dragoș Manea PART 3 Transmedial Religious Narratives in Unreal and Posthuman Worlds 7 Algorithms of Desire  Dukkha in the Machine   Anthony Miccoli 8 How to Fight Historical Violence  Posthuman Spirituality in Cloud Atlas   Maria-Sabina Draga Alexandru 9 Can Artificial Humans Go to Heaven? Transhumanist Salvation in Shelley’s Frankenstein and the Hitman Series   Andrei Nae  Conclusion   Maria-Sabina Draga Alexandru and Dragoș Manea Bibliography Index

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Book SynopsisAlthough recently more studies have been devoted to the representations of Biblical heroines in modern European art, less is known about the contribution to the portrayals of Biblical women by modern Jewish artists. This monograph explores why and how heroines of the Scripture: Judith, Esther and the Shulamite received a particular meaning for acculturated Jewish artists originating from the Polish lands in the last decades of the nineteenth century and the first two decades of the twentieth century. It convincingly proves that artworks by Maurycy Gottlieb, Wilhem Wachtel, Ephraim Moses Lilien, Maurycy Minkowski, Samuel Hirszenberg and Boris Schatz significantly differed from renderings of contemporary non-Jewish artists, adopting a “Jewish perspective”, creating complex and psychological portrayals of the heroines inspired by Jewish literature and as well as by historical and cultural phenomena of Jewish revival and the cultural Zionism movement.Table of ContentsAcknowledgments List of Illustrations Note to the Reader Introduction  1 Historical Background  2 Aims of the Book and the State of the Research  3 Methodology 1 Judith in Late Nineteenth- and Early-Twentieth-Century Jewish Art  1.1 The Book of Judith  1.2 Judith in Pre-modern Jewish and Christian Tradition and Art  1.3 Judith in Nineteenth-Century Literature and Art  1.4 Celebrating Her Triumph: Judith in Late-Nineteenth and Early-Twentieth-Century Jewish Art 2 The Jewish Queen Esther in Early Twentieth-Century Jewish Art  2.1 The Book of Esther: Introduction  2.2 Esther in Pre-modern Jewish and Christian Tradition and Art  2.3 Jewish and Christian Literary Treatments of the Book of Esther in the Nineteenth Century  2.4 Esther in Early Twentieth-Century Jewish Art 3 The Shulamite in Early Twentieth-Century Jewish Art  3.1 The Song of Songs: An Introduction  3.2 The Shulamite in Jewish and Christian Tradition and Art Up to the Nineteenth Century  3.4 New Meanings of the Song of Songs in Nineteenth- and Early Twentieth-Century Jewish and Christian Literature  3.5 The Ideal Jewish Woman: The Shulamite and The Song of Songs in Jewish Art of the Early Twentieth Century Conclusion Bibliography

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Book SynopsisReading Śiva is an illustrated bibliography on the Hindu god Śiva in the arts, crafts, coins, seals and inscriptions from South and Southeast Asia. It results from a century of ABIA bibliographic work and covers over 1500 academic publications since 1672. This scholarly and multi-disciplinary volume offers keyword-indexed annotations. The detailed indices on authors, geographic terms and subjects enable an easy search through the data. Links with the entries to resource repositories (such as JSTOR, Persée, Project MUSE, Academia.edu, ResearchGate and the Internet Archive) and links added to the sumptuous illustrations immediately take you to these resource sites.Table of ContentsList of Illustrations Introduction Bibliographical Records Part 1: Archaeology The Liṅgam Illustrations ‘The Liṅgam’ Part 2: Arts Śiva Benign and Wrathful Illustrations ‘Śiva Benign and Wrathful’ Part 2: Arts (continued) Śiva and His Family Illustrations ‘Śiva and His family’ Part 2: Arts (continued) Śiva Dancing Illustrations ‘Śiva Dancing’ Part 3: Inscriptions, Coins and Seals Around Śiva Illustrations ‘Around Śiva’ Index of Authors Index of Geography Index of Subjects

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Book SynopsisThe first comprehensive study in English of the Japanese hell figure Datsueba explores her evolution since her eleventh-century emergence as a terrifying old woman who strips the clothes of the dead in the afterworld. Drawing widely on literature, art, and worship practices, the author reveals how the creative utilization of Datsueba’s key attributes—including a marker of borders, a keeper of cloth, and an elderly woman—transformed her into a guardian of the human journey through life and death and shaped a figure that is diverse and multifaceted, yet also strikingly recognizable across the centuries.Table of ContentsContents Acknowledgements List of Figures Introduction  1 Toward a More Integrated Picture  2 Theoretical Framework, Methodology, and Primary Sources  3 Structure of the Monograph 1 Conceptions of Hell in Asia: Related Texts and Imagery  1 The Six Realms and Early Representations of Hell  2 Chinese Adaptations and Visions of Hell  3 Female Deities Related to Death: Indian Goddesses, Meng Po, and Datsueba  4 Concluding Remarks 2 Datsueba in Religious and Popular Texts  1 Prototypes for Datsueba  2 Datsueba in Accounts of the Ten Kings of Hell  3 Datsueba-like Figures in Popular Stories  4 Concluding Remarks 3 Visual Representations of Datsueba: From Hell Scenes to the Popular Sphere  1 Pictorial Representations of Hell Prior to Datsueba  2 The Emergence of Datsueba in the Landscape of Hell  3 Standardization and Modification of Datsueba Iconography  4 Concluding Remarks 4 Datsueba in Pilgrimage Mandalas  1 Overview of Pilgrimage Mandalas  2 Datsueba in Ise sankei mandara: Marking the Border between Sacred and Impure  3 Datsueba in the Zenkōji sankei mandara: Bridging the Underworld and Pure Land  4 Datsueba in Tateyama mandara: Manifestation of the Mountain Goddess Ubason and Symbol of the Entrance to Hell  5 Concluding Remarks 5 Venerating Datsueba: Beliefs and Worship Practices  1 Sculptural Images of Datsueba: A Brief Overview  2 Datsueba as a Marker of the Otherworld  3 The Symbolism of Cloth in Worship Practices Devoted to Datsueba  4 Datsueba, Other Old Female Figures, and Buddhist Attitudes toward Women  5 Concluding Remarks Conclusion Chinese and Japanese Character Glossary Bibliography Index

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Book SynopsisWhat does 'performance' mean in Christian culture? How is it connected to rituals, dramatic and visual arts, and the written word? Performing the Sacred: Christian Representation and the Arts explores both the meaning of re-presentation and the role of performance within the Christian tradition between arts and drama. The essays in this book demonstrate that the idea of performance was central to Christian theology and that—from the Middle Ages to the Early Modern era—it became a device through which people saw, prayed, preached, wrote, imagined, officiated rites, celebrated cults, and practiced devotions. Seen that performance is a habitus within Christianity, performing the sacred does not just mean representing it, but rather enacting it in a tangible, visible and involved way.Table of ContentsPreface List of Illustrations Notes on Contibutors Introduction  Carla M. Bino and Corinna Ricasoli 1 The Drama of Christian Images: Art, Liturgy, Sacred Theatre  Timothy Verdon 2 A ‘Dramatic Turn’: The Revolution of Christian Representation  Carla M. Bino 3 No Drama Please, We’re Greek: Sacred Plays from a Greek Orthodox Perspective  Andrew Walker White 4 Enacting Sacred Narrative: Biblical, Liturgical, and Sacramental Practices in the Latin West  Nils Holger Petersen 5 Mary in the Scriptures as Container and Way: Henry Adams and the Virgin of Chartres  Rachel Fulton Brown 6 The Power of Images of Passion: Animated Sculptures of the Crucified Christ and the Problem of Visualizing Suffering in Medieval Art  Kamil Kopania 7 Women as Performers of the Bible: Female Preaching in Premodern Europe  Carolyn Muessig 8 Dramatic Action and the Participatory Spectator at the Sacro Monte di Varallo: Frozen Theatre or Immersive Installation?  Allie Terry-Fritsch 9 The Paradox of the Saint Actress: Church and Commedia Dell’arte during the Counter-Reformation  Fabrizio Fiaschini 10 Performing Glory: The Misteri or Festa D’elx on Contemporary Stages  Francesc Massip 11 Performing the Bible: Christian Drama and the Arts  Jean-Claude Schmitt Copyright Index

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Book SynopsisIslamic art is often misrepresented as an iconophobic tradition. As a result of this assumption, the polyvalence of figural artworks made for South Asian Muslim audiences has remained hidden in plain view. This book situates manuscript illustrations and album paintings within cultures of devotion and ritual shaped by Islamic intellectual and religious histories. Central to this story are the Mughal siblings, Jahanara Begum and Dara Shikoh, and their Sufi guide Mulla Shah. Through detailed art historical analysis supported by new translations, this study contextualizes artworks made for Indo-Muslim patrons by putting them into direct dialogue with written testimonies.Trade ReviewFrom the readers' reports: "This is a well-researched and well-written book that is a pleasure to read. It has the potential to reshape the field of South Asian art by exploring the central, affective role of images in devotional practices in the early modern era, and Islamic art, as well as speak to audiences interested in South Asian and Islamic literature and culture more broadly." Holly Shaffer, Assistant Professor of History of Art & Architecture, Brown University "The virtue of the book lies not just in the originality of its approach, but in the persuasiveness of its arguments and the solidity of its evidence as well. It is a major piece of scholarship that marshals an impressive range of material." Kavita Singh, formerly Professor of Art History, Jawaharlal Nehru UniversityTable of ContentsAcknowledgements IX List of Illustrations XIII Note on Translation and Transliteration XXVI Introduction: The Need for an Ontology of Art  1 What Is Islamic Ontology?  2 Can “Indian Painting” Be Islamic Painting?  3 Ṣūrat and Maʿnī: Islam and Islam  4 Presence  5 Organization of the Book 1 Viewing the Face of a God’s Friend: Conceptual and Literary Premises  1 Sufism  2 Taẕkira Literature  3 Looking at the Face of ʿAli Is Worship 2 Sufi in the Garb of a Yogi: Visual and Literary Articulations of Sanctity  1 The Yogi in Medieval Sufi Romances  2 Yogis in Princely Albums 3 Allegories, Symbols, and the “Marvelous Magic” of Imperial Mughal Painting  1 Akbar: The Saint-King  2 Jahangir: The King of Universal Manifestation  3 Shah Jahan and the Army of Prayer 4 “I Saw My Lord in the Form of a Beardless Youth”  1 In the Company of Dervishes  2 The Princely Youth, Alone  3 Interpreting the Dara Shikoh Album  4 Persianate Antecedents for the Dara Shikoh Album 5 The Face of Shah … the Face of God  1 Jahanara Begum: Sufi Patron and Practitioner 6 Sacred Viewing: Miraculous Gatherings and Iconic Portraits  1 The Majlis Paintings  2 An Iconography of Devotion Conclusion Bibliography Index

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Book SynopsisTeresa of Ávila's cult was dramatically disseminated in previously unknown celebrations honoring her beatification (1614) and canonization (1622) in Italy and Portuguese Asia, the purview of her Discalced Carmelite Order's Italian Congregation. Reconstructions and analyses of the festivities in Genoa, Rome, Naples, Hormuz, and Goa center on the presentation of Teresa's gender, deeds, virtues, and miracles. The geopolitical roles played by religious, secular, and family networks in particularizing and propagating Teresa's universal cult are emphasized. The desired goal of converting Muslims and Hindus is addressed in light of attitudes toward ethnic and religious diversity shared by lay and ecclesiastical authorities.Table of ContentsAcknowledgments List of Illustrations Introduction PART 1: Teresa’s Beatification Celebrations in Italy, 1614 1 A Triumphal Procession for Cloistered Nuns in Genoa 2 Matriarch of A Global Missionary Order in Papal Rome 3 ”Founder and Doctor and Virgin”: Spanish Holy Woman in Viceregal Naples PART 2: Teresa’s Italian Canonization Celebrations, 1622 4 Canonizing Five New Saints in St. Peter’s Basilica 5 Honoring St. Teresa in S. Maria Della Scala, Rome 6 A Triumphal Procession for Philip Iv’s New Saint in Viceregal Naples PART 3: The Mission to Persia and the East Indies: Conversionary Aspirations and Festivities 7 New Challenges: Confronting Ethnic and Religious Diversity 8 Celebrating Teresa’s Beatification in Hormuz in Portugal’s Estado Da Índia 9 Teresa’s Canonization Festivities in Goa, Rome of the East Conclusion Bibliography Index

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Book SynopsisIn this book Martien Brinkman explores the Jesus incognito as found in Western film, literature, and the visual arts since 1960. His interest here is focused primarily on indirect references to the Jesus figure. To his surprise, he found an abundance of allusions to Jesus in key figures in modern art. This confirmed his view that film, literature, and the visual arts make a substantial contribution, even in secular Western culture, to continuing reflection on Jesus’ significance. Brinkman finds important characteristics of a hidden Christ in films by Gabriel Axel, Ingmar Bergman, Krzysztof Kieslowski, and Lars von Trier, novels by Peter De Vries, J.M. Coetzee, and Arnon Grunberg, poems by Les Murray and Czeslaw Milosz, and paintings by Andy Warhol, Harald Duwe, and Frans Franciscus. He defines a hidden Christ as a fictional human individual who can be seen as a new embodiment of the meaning that can be attributed in the present to the biblical figure of Jesus. The hidden Christ is therefore a contemporized Jesus figure. This book will be of interest for everyone who shares Brinkman’s quest for this Jesus incognito.Trade ReviewAn impressive study in art and theology Clement Grene, Edinburgh in The Expository TimesTable of ContentsPreface Introduction More than Illustrations Theological Impotence and Reluctance An Unfinished Tale Reciprocal Involvement Rearrangement Summary The Hidden Christ in Film Jesus Figures and Christ Figures Symbol and Reality Mutual Transformation Babette’s Feast: Background and Story Line Babette’s Feast: Interpretation The Communicants: Background and Story Line The Communicants: Interpretation A Short Film about Love: Background and Story Line A Short Film about Love: Interpretation Breaking the Waves: Background and Story Line Breaking the Waves: Interpretation Summary and Evaluation The Hidden Christ in Fiction and Poetry Introduction The Blood of the Lamb: Background and Story Line The Blood of the Lamb: Interpretation Disgrace: Background and Story Line Disgrace: Interpretation The Jewish Messiah: Background and Story Line The Jewish Messiah: Interpretation Les Murray: “Easter 1984” and “Church” Czeslaw Milosz: “Treatise on Theology” Summary and Evaluation The Hidden Christ in the Visual Arts Leonardo da Vinci’s Last Supper as Icon Andy Warhol’s Last Supper Frans Franciscus’ Last Supper Harald Duwe’s Last Supper Summary and Evaluation Epilogue Cultural Shifts Four Presuppositions Western Contours? Bibliography Index of Names Index of Subjects

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