Confronting the Borders of Medieval Art by Jill Caskey;Adam S. Cohen;Linda Safran

By Jill Caskey;Adam S. Cohen;Linda Safran

This quantity methods the matter of the canonical middle through artwork and structure at the borders of the medieval global, from China to Armenia, Sweden, and Spain. Seven individuals interact 3 precise but similar difficulties: margins, frontiers, and cross-cultural encounters. whereas no longer showing a unified method or privileging particular theoretical constructs, the essays emphasize how concepts of illustration articulated possession and id inside contested arenas. what's contested is either medieval (the fabric proof itself) and smooth (the scholarly traditions within which the proof has or has no longer been embedded). An advent through the editors locations the essays inside historiographic and pedagogical frameworks. individuals: J. Caskey, okay. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.

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Diffusion was now considered to contribute to acculturation but was no longer believed to be the sole factor in the transmission of cultural elements. During the 1960s and 1970s, the concept of acculturation was introduced into the field of history by scholars of medieval Spain10 and discussed in depth by Thomas F. Glick in his observations on Christian and Jewish minorities in al-Andalus as well as Muslim and Jewish minorities in the Christian kingdoms. 11 Acculturation occurs whenever two cultures come into contact.

The political circumstances are those of Ashkenazic Jewry of the thirteenth and fourteenth centuries, a lengthy period marked by the increasing tension and persecution that followed the outbreak of violence during the First Crusade in 1096. 29 In consequence, the cultural climate of Ashkenazic Jews was determined by numerous efforts to overcome pressure to convert to Christianity, often instigated by migrant mendicant preachers. Jewish scholars met this situation by composing several polemical treatises, the purpose of which was to fortify their fellow Jews against conversion pressure.

Manuscript Studies from the Index of Christian Art (University Park, PA: Pennsylvania State University Press, 2005), 187-209. edu Abstract This essay questions the validity of “Mudéjar” as the designator of a viable stylistic or aesthetic category, instead employing topoi such as birds, thrones, towers and divine light in order to trace a complex network of ‘visual polemics’ surrounding the issue of the Incarnation which transcends established boundaries of style and periodization. Keywords Alhambra, architecture, Berruguete, Granada, light, Medina de Pomar, Mudéjar, stucco, sufism Against a dense backdrop of stylized and overlapping leaves, a series of slender arcades supported by diminutive twin columns frame intricate star-like patterns, some of pierced stucco and others of complex strapwork (Figs 11 and 12).

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