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Books on the topic 'Cosmography in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

Richard, Texier, ed. Richard Texier: Theoria sacra. Éditions Le temps qu'il fait, 2008.

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2

Guillou, Philippe Le. Richard Texier: Theoria sacra. Éditions Le temps qu'il fait, 2008.

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3

1812-1884, Eberty Felix, ed. Zwischen den Sternen-- Lichtbildarchive: Was Einstein und Uexküll, Benjamin und das Kino der Astronomie des 19. Jahrhunderts verdanken. Akademie Verlag, 2006.

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4

Büttner, Nils. Die Erfindung der Landschaft: Kosmographie und Landschaftskunst im Zeitalter Bruegels. Vandenhoeck & Ruprecht, 2000.

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5

Śnieżyńska-Stolotowa, Ewa. Tajemnice dekoracji Psałterza Floriańskiego: Z dziejów średniowiecznej koncepcji uniwersum. Wydawn. Nauk. PWN, 1992.

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6

Amelie, Jensen, and Öffentliche Kunstsammlung Basel, eds. Kreis und Kosmos: Ein restauriertes Tafelbild des 15. Jahrhunderts ; Kunstmuseum Basel, 18. August-11. November 2007. M. Imhof, 2007.

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7

The living universe: Where are we? who are we? where are we going? Berrett-Koehler, 2009.

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8

Pliny. Über Glas und Metalle. Scripta Mercaturae Verlag, 2000.

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9

Wonder, image, and cosmos in medieval Islam. Yale University Press, 2011.

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10

Omodeo, Pietro Daniel. Amerigo Vespucci: The Historical Context of His Explorations and Scientific Contribution. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-402-8.

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This book offers a new reconstruction of Amerigo Vespucci’s navigational and scientific endeavours in their historical context. The author argues that all of the manuscripts or texts that Vespucci left to posterity are reliable and true, except for several amendments imposed upon him for reasons linked to the political and economic interests of those who authorised him to undertake his journeys or which were the result of relationships with his companions. The earliest genuine documentation, which dates from the late fifteenth century or early sixteenth century, confirms this position. Fortunately, careful philological studies of Vespucci’s principal written works are available, while some of his original drawings, which confirm, clarify and enrich what he narrated in his letters, can be identified in Waldseemüller’s large map known as Universalis cosmographia (1507).
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11

Lavoie, Francine, Musée des beaux-arts de Montréal, and Jean Clair. Cosmos. Gallimard, 1999.

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12

1940-, Clair Jean, Montreal Museum of Fine Arts., and Centre de Cultura Contemporània de Barcelona., eds. Cosmos: Du Romantisme à l'Avant-garde : Musée des beaux-arts de Montréal, Pavillon Jean-Noël Desmarais. Gallimard, 1999.

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13

1940-, Clair Jean, Musée des beaux-arts de Montréal., and Centre de Cultura Contemporània de Barcelona., eds. Cosmos: Du Romantisme à l'Avant-garde. Musée des beaux-arts de Montréal, 1999.

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14

Jay, Belloli, and Cosgrove Denis E, eds. The universe: A convergence of art, music, and science. Armory Center for the Arts, 2001.

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15

Linnik, IUrii. Put k Pleiadam: Amaravella : Russkie khudozhniki-kosmisty. Sviatoi Ostrov, 1995.

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16

Lipton, Gregory A. Return of the Solar King. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190684501.003.0003.

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This chapter challenges the widely held Perennialist view that Ibn ‘Arabi rejected the supersessionist doctrine of abrogation (naskh), by demonstrating that his positions on the religious Other should be understood within a larger religio-political cosmology that envisions all religions and their laws as subject to the cosmic rule of Muhammad. Even though this chapter clearly shows that Ibn ‘Arabi held Judaism and Christianity as abrogated by Islam, it nuances this assertion by showing that through obedience to the Qur’anic command requiring submission and the payment of the indemnity tax (jizya), the People of the Book are metaphysically subsumed within the broader cosmography of Ibn ‘Arabi’s conception of Islam and the absolute cosmological authority of the Prophet Muhammad.
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