Relevant bibliographies by topics / Christian medieval art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Christian medieval art'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Christian medieval art"

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LOMBA, Joaquín. "La naturaleza y el espacio en la estética medieval." Revista Española de Filosofía Medieval 6 (October 1, 1999): 11. http://dx.doi.org/10.21071/refime.v6i.9658.

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The subject of this article is to ex pond how the medieval art (christian-european and muslim) express a nature and space that depends on the own concept of the nature and space. On the other hand, his concept is different in the christian world and in the muslim one. Both of them mantain that nature and space, in contrast to Greece, are created, and depend on a Transcendental God. However, the nature and space in the muslim art is more dependent on Creator than in the christian one, and that become evident in the artistic forms.
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Voderstrasse, Tasha. "Painted Churches of Medieval Lebanon: an Overview." Chronos 24 (March 28, 2019): 129–61. http://dx.doi.org/10.31377/chr.v24i0.433.

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The modern country of Lebanon preserves an important medieval and post-medieval legacy of standing churches and Christian religious art. After their discovery by western scholars in the 19th century, the art of the churches only attracted limited scholarly attention until about 100 years later, when they began to be studied in detail. Now a variety of studies have appeared on the churches and their art, including several books (Nordiguian and Voisin 1999 and subsequent new editions; Cruikshank Dodd 2004; Immerzeel 2009; Zibawi 2009) and numerous articles in both print and online. This article seeks to provide an overview of the studies of these monuments, first discussing the origins of the study of these churches and the viewpoints of the different scholars who have approached the material, and then examining some Of the surviving monuments. The churches discussed here date to what can be most accurately termed as a high medieval period of the 12th-13th centuries AD, when Lebanon was under the rule of the Crusaders. Nevertheless, while the region was under Crusader control, there is a growing recognition that the monuments that were produced were local art that was influenced from a variety of sources. Post-Crusader material will not be discussed, although it should be noted that the country also possesses important Christian art from the subsequent periods. The article will not only examine the standing architecture, but also the wall paintings, which have been the subject of considerable attention on the part of scholars in recent years. Further, other Christian religious items that would have been found or still can be found in the churches, such as icons, will also be treated here, particularly as a number of scholars have related the different art forms to each other. It is by examining all forms of Christian art surviving in Lebanon from this period that we can come to a better understanding of how and why this material was produced, as well as how the studies of this material has evolved through time. It can also help provide new ideas for further research, in addition to the valuable work of documentation, restoration, and interpretation that has been occurring since the end of the 20th century.
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MARKOV, ALEXANDER VIKTOROVICH. "THE LAWS OF CHRISTIAN CULTURE IN THE LATE POETRY OF ELENA SCHWARTZ." Cultural code, no. 3 (2020): 7–14. http://dx.doi.org/10.36945/2658-3852-2020-3-7-14.

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The imagery of Fra Beato Angelico's fresco is grotesquely transformed in the poem dedicated to it by Elena Schwartz, as a reason for discussing the destiny of human. Painting is viewed as a way to relate a person to physical and metaphysical space, turning the circumstances of the current life into the details of another being, and tourism into a kind of pilgrimage to other worlds. The article reconstructs the structural opposition of the poem and proves that they create a working model of Christian culture. It has been established that Schwartz views Renaissance art not as naturalistic and representative, but as exploring the boundaries of various material phenomena and their existence in time. She also interprets medieval art as deductive rationalism, which gives the keys to the experiences of modernity. Reflections on art make it possible to reassemble the impressions of the experience, understanding medieval dogmatic intuitions not just as correct, but as modern. Schwartz, criticizing representative art and reconstructing medieval presumptions of art creation, clarified the boundaries of the artistic expression of Christian dogma.
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Cassidy, Brendan. "Automation and Medieval Iconography : The Princeton Index of Christian Art." Le médiéviste et l'ordinateur 26, no. 1 (1992): 9–11. http://dx.doi.org/10.3406/medio.1992.1363.

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Hourihane, Colum P. "Classifying Subject Matter in Medieval Art: The Index of Christian Art at Princeton University." Visual Resources 30, no. 3 (July 3, 2014): 255–62. http://dx.doi.org/10.1080/01973762.2014.936103.

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Baldwin, Robert W. "“I slaughter barbarians”: Triumph as a mode in medieval Christian art." Konsthistorisk Tidskrift/Journal of Art History 59, no. 4 (January 1990): 225–42. http://dx.doi.org/10.1080/00233609008604271.

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Flood, Finbarr Barry. "Lost Histories of a Licit Figural Art." International Journal of Middle East Studies 45, no. 3 (July 30, 2013): 566–69. http://dx.doi.org/10.1017/s0020743813000494.

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The idea that theology is either irrelevant to artistic production or “a baleful influence” on its history has recently been critically explored by Jeffrey Hamburger, in relation to medieval Christian art. Engaging the perennial problem of moving between immaterial concepts, normative texts, and material things, Hamburger's observations resonate with the long shadow cast by the Bilderverbot, the prohibition of images often assumed to characterize Islamic and Jewish cultures, on the modern reception of Islamic art.
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Chikarkova, Maria. "Medieval origins of street art." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 99–106. http://dx.doi.org/10.34079/2226-2830-2020-10-19-99-106.

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The article deals with "street art" as a kind of urban culture, outrageous self-expression of urban youth. Its study is condensed mainly on modern modifications of phenomena such as graffiti, video projection, art intervention, flash mob and more. But the historical forms of this phenomenon, whose roots go back to cave times, are much more diverse and unexpected. The ancient street art is pretty well known to us, however the medieval street art, even the closest ‒ European, scientists were much less interested. However, the Soviet-era disregard for the experience of the Middle Ages, which was one of the most important links in the progress of our culture, is deeply flawed. The aim of this study is a scientific description of the street art of medieval Europe, its structure, spiritual orientation, genre originality and potential for further development. The article gives a detailed analysis of the theoretical projection of the problem (formation of the phenomenon of "street art" on the border of folklore and experience of professional art) and the practical need to expand the concept of street art in its historical diachrony in the study and teaching of world and domestic culture. The main idea of the articles is a comparison of medieval street art with its folklore and, in part, ancient origins, as well as the establishment of points of contact with the future Proto-Renaissance world. The article emphasizes that religious-Christian consciousness prevailed in medieval Europe, and this meant a radical change in worldview. Being ceased to be perceived as an "eternal whirlpool": the eschatological concept of the Bible prompted us to realize the temporality of the material world and the need to find ways to Eternity. Thus, street art, which used to be a signification of the everyday interests of citizens, has now received the status of a "signpost to Heaven", expressing a predominantly pious spiritual search for the urban community. This can be seen even in various inscriptions, signs, craft communities, etc. At the same time, phenomena marginal to the dominant church culture, such as "carnival culture", which condensed the hedonistic motives of pagan heritage, developed certain traditions of chivalric culture and were sometimes an echo of heretical teachings, are carefully analyzed. This article reports the results of a medieval street art as a powerful component in the formation of European culture and contributed to the involvement of broad sections of uneducated citizens in the spiritual life of the era. This situation largely became the foundation of the formation of the Renaissance process. The article is of great help to a more detailed and in-depth study of this important historical and cultural phenomenon.
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Rohrbacher, Stefan. "The charge of deicide. An anti- Jewish motif in medieval Christian art." Journal of Medieval History 17, no. 4 (January 1991): 297–321. http://dx.doi.org/10.1016/0304-4181(91)90003-4.

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Badamo, Heather. "Locating Medieval Armenia at the Metropolitan Museum of Art." Journal of Medieval Worlds 1, no. 2 (June 2019): 77–82. http://dx.doi.org/10.1525/jmw.2019.120005.

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Spanning 13 centuries, the exhibition “Armenia!” brings together some 140 objects to present the medieval art and culture of the Armenian peoples in a global context. Armenia has often existed at the borders of medieval art in contemporary scholarship, due to its complex history and continuously shifting borders, which undermine basic understandings of empires and polities. This exhibition seeks to “locate” Armenia through the twin themes of religion and trade, documenting the myriad ways in which Armenians employed visual culture to construct images of the self and community. The works on display demonstrate the distinctive qualities of the Armenian artistic and religious culture, while also documenting contact with an ever-shifting and expanding group of neighbors and trading partners. At once complimenting and extending the reach of the exhibition, the catalog provides scholars with a trove of insightful essays and catalog entries that are, characteristically, deeply researched and will serve as a touchstone in the field for decades to come. Together, this exhibition and catalog calls on medievalists to rethink the way we study and teach medieval art, recognizing the inner diversities, interlocking histories, and extraordinary artistic achievements of Christian communities in the east.
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Dissertations / Theses on the topic "Christian medieval art"

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Stowell, Steven. "The mystical experience of art : Medieval Christian themes in the literature on art of the Italian Renaissance." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517020.

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Kay, Nancy J. "The sacred public sculptures in Antwerp: From their medieval origins to the French Revolution." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318337.

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Velimirovic, Nada. "Reflections of the divine| Muslim, Christian and Jewish images on luster glazed ceramics in Late Medieval Iberia." Thesis, Graduate Theological Union, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10240733.

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For eight centuries, from 711 until 1492, a unique combination of political, cultural, and faith traditions coexisted in the mostly southern region of the Iberian Peninsula now called Spain. From the thirteenth century through the fifteenth century, two key production centers of luster glazed ceramics emerged in this region: Islamic-ruled Málaga and Christian-ruled Valencia. Muslim artisans using Islamic decorative motifs on reflective luster glaze ceramics created objects that patrons, including nobility and Christian royalty, clamored to collect. Initially, traditional Islamic decorative motifs dominated luster glazed ceramic production by Muslim artisans in Málaga; eventually, these artisans used combinations of Islamic and Christian motifs. As wars raged near Málaga, Muslim artisans migrated to Valencia—some converting to Christianity. Here, luster glazed ceramics evolved to include combinations of Islamic and Christian motifs, and, in one example, Islamic and Jewish motifs.

This investigation of Iberian luster glazed ceramics examines religious decorative motifs and their meaning by using a methodology that combines material culture studies and art history. Material culture studies seeks: (1) To find value and meaning in everyday objects; and (2) To introduce the understanding that visual motifs communicate in a different way than texts. Additions from art historians augment the conceptual framework: (1) Alois Riegl’s concept of Kunstwollen—that every artistic expression and artifact that is produced is a distillation of the entirety of creator’s worldview; and (2) Oleg Grabar’s definition of Islamic art as one that overpowers and transforms ethnic or geographical traditions. In this dissertation, religious decorative elements on Iberian luster glazed ceramics are categorized as: (1) Floral and vegetative motifs; (2) Geometric symbols; (3) Figurative images; (4) Christian family coats of arms; and (5) Calligraphic inscriptions.

This dissertation will demonstrate how Muslim, Christian, and Jewish artisans used and combined the visual expressions of their respective faith traditions in motifs that appear on luster glazed ceramics created in the Iberian Peninsula under both Islamic and Christian ruled territories. Investigation of objects previously deemed not worthy of scholarly attention provides a more nuanced understanding of how religious co-existence (convivencia in Spanish) was negotiated in daily life.

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Morgan, David. "The origin and use of compositional geometry in Christian painting /." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68125.

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.
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Angers, Philippe 1968. "Principles of religious imitation in mediaeval architecture : an analysis of the Holy Sepulchre in Jerusalem and its European copies from the Carolingian period to the late Romanesque." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98534.

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This study concerns the concept of sacred architectural imitation, using the Platonic notion of mimesis which then later finds expression in the medieval idea of imitatio. In Religious as well as in artistic and architectural forms of expression, the notion of imitation is indeed a very central and complex issue. At the heart of this concept is the question of meaning, or, more precisely, the transference or translation of meaning; from original to copy, from prototype to reproduction.
In order to better illustrate and understand the principles guiding the notion of medieval sacred architectural imitation I have chosen to focus on five specific instances surrounding the replication of the Holy Sepulcher in Jerusalem, arguably the most revered landmark in Christendom.
A close examination of the relationships which exist between model and copy will bring to the fore the dynamics which govern the process of mimesis by which meaning is reproduced in the architectural replicas.
From this comparative analysis will emerge a more universal picture of the medieval concept of religious imitation. Indeed, if anything, a preliminary survey of the great many imitations of the Holy Sepulcher spread throughout Europe reveals to the observer a surprising trend, namely a consistency of inconsistencies in their effort to "copy".
The present study will demonstrate that these seeming inconsistencies within the application of the mimetic process nevertheless reveal a somewhat unexpected structure.
From the pattern of these inconsistencies will emerge a clearer picture of the principles governing the transfer of sacred meaning via the method of imitatio during the Middle Ages.
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Muir, Autumn M. "The Psalter Mappaemundi: Medieval Maps Enabling Ascension of the Soul within Christian Devotional Practices." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1300733958.

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Bai, Mengtian. "Yangzhou Latin Tombstones: A Christian Mirror of Yuan China Society." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1530141020070354.

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Tóthné, Kriza Ágnes Rebeka. "Depicting orthodoxy : the Novgorod Sophia icon reconsidered." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275821.

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The Novgorod icon of Divine Wisdom is a great innovation of fifteenth-century Russian art. It represents the winged female Sophia flanked by the Theotokos and John the Baptist. Although the icon has a contemporaneous commentary and it exercised a profound influence on Russian cultural history (inspiring, among others, the sophiological theory of the turn of the twentieth century), its meaning, together with the dating and localisation of the first appearance of the iconography, has remained a great art-historical conundrum. This thesis sheds new light on this icon and explores the message, roots, function and historical context of the first, most emblematic and most enigmatic Russian allegorical iconography. In contrast to its recent interpretations as a Trinitarian image with Christ-Angel, it argues that the winged Sophia is the personification of the Orthodox Church. The Novgorod Wisdom icon represents the Church of Hagia Sophia, that is Orthodoxy, as it was perceived in fifteenth-century Rus’: the icon together with its commentary was a visual-textual response to the Florentine Union between the Catholic and Orthodox Churches, signed in 1439 but rejected by the Russians in 1441. The thesis is based on detailed interdisciplinary research, utilising simultaneously the methodologies of philology, art history, theology and history. The combined analysis reveals that the great innovation of the Novgorod Sophia icon is that it amalgamates ecclesiological and sophiological iconographies in new ways. Hence the dissertation is also an innovative attempt to survey how Orthodoxy was perceived and visualized in medieval Rus’. It identifies the theological questions that constituted the basis of Russian Orthodox identity in the Middle Ages and reveals the significance of the polemics between the Catholic and Orthodox Churches for the history of Medieval Russian art.
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Leatherbury, Sean Villareal. "Inscribed within the image : the visual character of early Christian mosaic inscriptions." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:9ea6f425-7010-4820-b35d-bed33c658b60.

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Between the fourth and the seventh centuries CE, Christian patrons erected thousands of churches, chapels, and monasteries in cities and villages across the Mediterranean, decorating the apses, walls and floors of many of these structures with figural and geometric mosaics. These late antique Christian mosaics have been studied for their iconography, their Graeco-Roman components, and as evidence for the religious beliefs of newly-Christian patrons. However, art historians largely have ignored the ways that texts, inscribed within the visual field and composed of the same mosaic material, functioned as images in Christian spaces. For the first time, this thesis assembles the foundations of a comprehensive catalogue of early Christian mosaic inscriptions, places them back into the physical spaces in which they were meant to be read, and analyzes how these texts functioned both verbally and visually for the late antique reader/viewer, against the backdrop of Graeco-Roman traditions. I first examine the ekphrastic components of Christian inscriptions and look more closely at the different ways in which texts work with and against images and spaces, encouraging the viewer to react physically and mentally. Second, I study the language of light used by the inscriptions, and argue that this language linked text to the material of mosaic and enabled patrons to make complex statements about their cultural erudition and religious affiliation. Third, I investigate the functions and visual forms of short tituli which label scenes or name figures to simplify, authenticate or transform static images into narratives in motion. Finally, I turn to the frames of the inscriptions and contend that different forms conveyed powerful visual arguments. By writing these texts back into their mosaics, this thesis argues that texts and images were inseparable in the period, and that text written into images performed and played in more complex ways than has been previously thought.
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Martone, Thomas. "The theme of the conversion of Paul in Italian paintings from the early Christian period to the high Renaissance." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11970051.html.

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Books on the topic "Christian medieval art"

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Snyder, James. Snyder's Medieval art. 2nd ed. Upper Saddle River, NJ: Prentice Hall, 2006.

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Amanda, Claridge, ed. Early christian and medieval antiquities. London: Harvey Miller publishers, 1996.

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Imaginería medieval mariana. [Navarra]: Gobierno de Navarra, Departamento de Educación y Cultura, 1988.

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Ross, Leslie. Medieval art: A topical dictionary. Westport, Conn: Greenwood Press, 1996.

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The dragon in medieval East Christian and Islamic art. Leiden: Brill, 2011.

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Medieval Europe Brugge Conference (1997). Art and symbolism in medieval Europe. Zellik [Belgium]: Instituut voor het Archeologisch Patrimonium, 1997.

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Universitat de Barcelona. Grup d'Investigació Emac Romànic i Gòtic, ed. Art fugitiu: Estudis d'art medieval desplaçat. Barcelona: Universitat de Barcelona, Publicacions i Edicions, 2014.

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Duby, Georges. History of medieval art 980-1440. London: Weidenfeld & Nicolson, 1986.

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Duby, Georges. History of medieval art, 980-1440. New York: Skira/Rizzoli, 1986.

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Duby, Georges. History of medieval art, 980-1440. New York: Skira/Rizzoli, 1986.

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Book chapters on the topic "Christian medieval art"

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Morrison, Karl F. "“Know Thyself” and Christian Art: The Dispute Between William Tyndale and Thomas More." In Medieval Paradigms, 249–73. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-10718-3_13.

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Rapp, Stephen H. ,. Jr. "Christian Caucasian Dialogues: Glimpses of Armeno-K‛art‛velian Relations in Medieval Georgian Historiography." In Arizona Studies in the Middle Ages and Renaissance, 163–78. Turnhout: Brepols Publishers, 2000. http://dx.doi.org/10.1484/m.asmar-eb.3.1349.

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Strickland, Debra Higgs. "Gazing into Bernhard Blumenkranz’s Mirror of Christian Art: The Fourteenth-Century Tring Tiles and the Jewishness of Jesus in Post-Expulsion England." In Religion and law in Medieval Christian and Muslim Societies, 149–87. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.relmin-eb.5.108443.

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Aavitsland, Kristin B. "Cultivating Virtues on Scandinavian Soil: The Rise of a Christian Humanism and Ecclesiastical Art in Twelfth-Century Denmark." In Intellectual Culture in Medieval Scandinavia, c. 1100–1350, 373–92. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.disput-eb.5.110530.

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Stokstad, Marilyn. "The Early Christian Period." In Medieval Art, 13–44. Routledge, 2018. http://dx.doi.org/10.4324/9780429495038-2.

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"Josephus in Medieval Christian Art." In Jewish Traditions in Early Christian Literature, Volume 2 Jewish Historiography and Iconography in Early and Medieval Christianity, 87–130. BRILL, 1992. http://dx.doi.org/10.1163/9789004275157_005.

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"MEDIEVAL CHRISTIAN CABALA: THE ART OF RAMON LULL." In The Occult Philosophy in the Elizabethan Age, 23–30. Routledge, 2003. http://dx.doi.org/10.4324/9780203167113-4.

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"Peter and Paul in Early Christian Art." In Right and Left in Early Christian and Medieval Art, 111–37. BRILL, 2021. http://dx.doi.org/10.1163/9789004448711_008.

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Hourihane, Colum. "Charles Rufus Morey and the Index of Christian Art." In The Routledge Companion to Medieval Iconography, 123–29. Routledge, 2016. http://dx.doi.org/10.4324/9781315298375-11.

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"3. Early Christian and Medieval Concepts of Time." In Transformations of Time and Temporality in Medieval and Renaissance Art, 39–52. BRILL, 2014. http://dx.doi.org/10.1163/9789004267862_006.

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Conference papers on the topic "Christian medieval art"

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Navarro Palazón, Julio. "La fortaleza medieval de Isso (Albacete) y su territorio." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11761.

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This paper presents some of the information obtained during the archaeological surveys carried out in 2019 in the stately fortress known as Torre de Isso, located in the municipality of Hellín (Albacete). These fieldworks have attempted to answer some questions related to the historical interpretation of the preserved monumental remains, specifically two large towers and some walls from the second half of the thirteenth or fourteenth century. The initial study and graphical documentation were carried out to obtain the data needed to draft a conservation project in line with current scientific criteria.Extending the investigation to the whole neighborhood of houses that surrounds the towers resulted in the discovery of a quadrangular fortress of 44 x 42 m, which incorporates the towers and in which different construction phases have been identified, certainly prior to and subsequent to the Christian conquest. The remains found were reused in the load-bearing walls of some of the houses. Beside the fortress, we extended the study to the entire village of Isso, in order to find out if the medieval castle had an annexed relevant village. Finally, the surveys expanded throughout the entire territory of Isso, with the desire to know if its characteristic dispersed settlement, made up of small farmhouses, and its traditional irrigation system, have a medieval origin.This multidisciplinary research project has allowed us to obtain extensive data and produce significant information, although it should be noted that many issues and some of the interpretations offered in this article are still hypothetical. Therefore, only future development of additional archeological and historical works will make it possible to tackle those questions that remain to be answered.
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