Relevant bibliographies by topics / Early Medieval art

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

Academic literature on the topic 'Early Medieval art'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 June 2025

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Journal articles on the topic "Early Medieval art"

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Kornbluth, Genevra. "Early Medieval Art. Lawrence Nees." Speculum 79, no. 3 (2004): 805–7. http://dx.doi.org/10.1017/s0038713400090321.

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HICKS, CAROLA. "ANIMALS IN EARLY MEDIEVAL ART." Art Book 1, no. 2 (1994): 27. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00032.x.

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Moffatt, Ann. "Early medieval art (review)." Parergon 11, no. 1 (1993): 186–87. http://dx.doi.org/10.1353/pgn.1993.0014.

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Fidler, Luke A. "The Coercive Function of Early Medieval English Art." Radical History Review 2020, no. 137 (2020): 34–53. http://dx.doi.org/10.1215/01636545-8092762.

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Abstract This article examines the spectacular representation of confinement in early medieval English sculpture in the context of poems, sermons, and translations. By identifying a series of features that early medieval spectators would have paid special attention to, it shows that sculptors used imprisoned and fugitive figures to craft a discourse about power in the absence of both a strong state and a regime of punitive incarceration. Compelling pictures of prisoners and verbal images of captivity flourished as a kind of carceral imaginary in the public landscape before the carceral state’s rise, as well as licensing forms of community policing in which early medieval subjects were required to participate. As such, these sculptures model a relationship between art and coercive power predicated on historically specific expectations about sculpture’s capacity to instruct and surveil.
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Goss, Vladimir P. "Josef Strzygowski and Early Medieval Art in Croatia." Acta Historiae Artium 47, no. 1 (2006): 335–43. http://dx.doi.org/10.1556/ahista.47.2006.1-4.23.

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Travis, William. "Representing "Christ as Giant" in Early Medieval Art." Zeitschrift für Kunstgeschichte 62, no. 2 (1999): 167. http://dx.doi.org/10.2307/1482979.

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Sagadin, Milan. "Early medieval art and craft creativity in Slovenia." Hortus Artium Medievalium 3 (January 1997): 73–79. http://dx.doi.org/10.1484/j.ham.2.305100.

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Bruening-Lewis, Elizabeth. "Word and Image: An Introduction to Early Medieval Art." History: Reviews of New Books 29, no. 1 (2000): 36. http://dx.doi.org/10.1080/03612759.2000.10525696.

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McManus, Chris. "Right and left in early Christian and medieval art." Laterality 27, no. 3 (2022): 353–57. http://dx.doi.org/10.1080/1357650x.2022.2049285.

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Bauduin, Tessel M., and Julia W. Krikke. "Images of Medieval Art in the French Surrealist Periodicals Documents (1929–31) and Minotaure (1933–39)." Journal of European Periodical Studies 4, no. 1 (2019): 144–61. http://dx.doi.org/10.21825/jeps.v4i1.8843.

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The avant-garde movement Surrealism claimed historical figures as supposed ancesters, as is well known, but also interacted with the past, and especially art of the past, in other ways. This article explores the reception of the European Middle Ages in French Surrealism, in particular medieval art, by means of a case study: illustrations of medieval and early-modern Western art in the surrealist periodicals Documents (1929-1931) and Minotaure (1933-1939). The cerebral and contrary Documents challenged the canon of art by actively looking at the margins of European art, reproducing medieval art from a wide variety of periods and geographic locations, and in very differing media, including jewelry and vessels, murals, bronze church doors, and manuscript illuminations. The glossy art review Minotaure, which came with coloured inserts, was more conventional in its selection, reproducing primarily late-medieval and renaissance art works, mainly (panel) paintings. However, the intention is just as contrary, as late-medieval and renaissance art in Minotaure is framed in terms of surrealist aesthetics in a manner undermining the conventional canon. In Documents medieval art primarily serves to makes points about style and iconography, which is often posited as primitive or exotic. In Minotaure, medieval art serves to make points about Surrealism, about the oneiric qualities of form or iconography. Both periodicals offered an interesting array of medieval and renaissance art and introduced this art into the surrealist discours.
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Dissertations / Theses on the topic "Early Medieval art"

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Thunø, Erik. "Image and relic : mediating the sacred in early medieval Rome /." Roma : L'Erma di Bretschneider, 2002. http://catalogue.bnf.fr/ark:/12148/cb39178939p.

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Reed, Laurel Elizabeth. "Approaches to fifteenth- and early sixteenth-century painting in Dalmatia." Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355597.

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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 378-402).
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Churchill, Neil. "Depictions of power in the imperial art of the early Macedonian Emperors : Basil I, Leo VI and Alexander." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/60892/.

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The last comprehensive study of Byzantine imperial art was published in 1936 and there have been surprisingly few investigations of the art of the Macedonian Dynasty, despite their reputation as active propagandists. Most studies of imperial art have taken a centuries-long perspective, identifying major patterns but overlooking choices made by or on behalf of individual emperors. This thesis considers imperial in the reigns of the first three Macedonain Emperors: Basil (867 - 886) and his sons Leo (886 - 912) and Alexander (912 - 913). It seeks to understand how they constructed images of their power and what imperial art says about the power dynamics at Constatinople. Chapter 1 considers imperial portraits. It concludes that although elements of the imperial image were unchanging, there were nevertheless important differences in the public images put forward by each emperor. Basil's physical power was often depicted, whilst Leo was depicted as a wise ruler. Aspects of emperor's private lives are also visible in their art. Chapter 2 charts the changing iconography between reigns. It studies the emergence and development of the motif of an emperor being crowned by a heavenly figure, which signified the idea of anointing, and its assimilation into imperial art. The chief innovator in terms of imperial iconography, however, was Alexander, and not Basil. Chapter 3 considers Basil and Leo's records as builders and renovators of churches, monasteries, palaces and other buildings. Whilst multiple motives were at work, Basil and Leo acted in different ways. Basil's activity, it is argued, partly reflected his response to the earthquake of 869, which might have jeopardised the perceived legitimacy of his seizure of power in 867. Chapter 4 considers power relations between the emperor and other members of the imperial household. It finds evidence of tension, for example between Basil and his surviving sons Leo and Alexander, as well as examples when imperial behaviour was not dynastic in character. Chapter 5 examines the relationship bwteen emperor and patriarch, at a time when there may have been ideological differences about the extent of imperial power. It suggests that patriarchal art presented a potential challenge to unfettered imperial power, which Basil was prepared to accept but which ran counter to the way that Leo saw his own authority. The study of imperial art in these decades supports that interpretation that art was evolutionary and adaptive in character. Yet it was more grounded in the ideas, chaacter and preferences of individual emperors than has often been recognised and did, on occasion, respond to topical concerns, hopes and fears.
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Barber, Charles Edward. "Image and cult : studies in the representation of the Virgin Mary in early medieval art." Thesis, Courtauld Institute of Art (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261573.

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Stone, Brian James. "Ars rhetorica et sacrae litterae: St. Patrick and the Art of Rhetoric in Early Medieval Briton and Ireland." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/852.

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This dissertation is the first intensive rhetorical analysis of the writings of St. Patrick. This analysis, informed by interdisciplinary perspectives and methodologies, contributes to our understanding of the rhetorical nature of St. Patrick's writings, as well as the nature of rhetorical education in early medieval Britain and Ireland The literary significance of Patrick's extant writings, Epistola ad milites Corotici and Confessio, beyond their apparent historical value, has regularly been disputed by prominent scholars. Questions of the level of education Patrick received before being assigned to the bishopric in Ireland have informed debates over the quality and importance of his contribution to Hiberno-Latin literature. This study demonstrates the significance of Patrick's texts through discussion of Patrick's rhetorical astuteness and application of classical rhetorical techniques to a new and challenging context: that of a disseminating Christian world. The rhetorical strategies witnessed in Patrick's writings are decidedly Christian and therefore demonstrate the changing rhetorical culture of the early medieval period. The first chapters focus on ars dictaminis and Patrick's employment of the art of letter writing in Ireland in the 5th century CE. The rhetorical strategies detected in Patrick's Epistola ad milites Corotici are discussed relative to the socio-political and cultural context of early medieval Ireland. The later chapters study the Confessio in relationship to the Confession genre in the Late Roman and Early Medieval periods. Of particular significance here is the rhetorical practice of imitatio, which has deep reaching theological and ideological implications.
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Morrissey, Nicolas Michael. "Śākyabhikṣus, palimpsests and the art of apostasy the emergence and decline of Mahāyāna Buddhism in early medieval India /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835266361&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Amlé, Anton. "Black Pool : Hiberno-Norse identity in Viking Age and Early Medieval Ireland." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-227470.

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This paper is aimed at mapping important traits in a Hiberno-Norse identity. This is the main focus of the essay, but another important part is to problematize this using several theoretical approaches of which the main are identity, creolization and hybridization. The Hiberno-Norse culture being primarily an urban phenomenon, the thesis is delimited to the Hiberno-Norse towns with occasional comparisons to Scandinavia to see how the native Irish population influenced the invaders and how they gradually evolved into the Hiberno-Norse. Early on the Norse show signs of creolization that would ultimately lead to the creation of the Hiberno-Norse hybrid culture known from history and archaeology – an urban culture that show blended Norse and Irish features.<br>Denna uppsats är till för att sammanställa viktiga uttryck I en Iro-Skandinavisk identitet. Detta är huvudsyftet med uppsatsen, men en annan viktig del är att problematisera detta genom flera teoretiska begrepp, där de främsta är identitet, kreolisering och hybridisering. Då den Iro-Skandinaviska kulturen framför allt var ett urbant fenomen har uppsatsen avgränsats till de Iro-Skandinaviska städerna, med sporadiska jämförelser med Skandinavien för att se hur den inhemska Irländska befolkningen influerade angriparna och hur de skulle komma att utvecklas till Iro-Skandinaverna. Tidigt uppvisar nordborna tecken på kreolisering, som till slut skulle leda till uppkomsten av den Iro-Skandinaviska hybridkulturen känd från historian och arkeologin – en urban kultur som uppvisar blandade nordiska och irländska drag.
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Kitzinger, Beatrice. "Cross and Book: Late-Carolingian Breton Gospel Illumination and the Instrumental Cross." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10183.

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Crosses made in metal, paint, or stone stand at a singular intersection of past, present and future in the early medieval period. The historical cross of Golgotha is the source of such manufactured crosses’ form and power. Most also represent the theology of the Cross through their form and decoration, describing the soteriology of the crucifixion and anticipating its consummation at the end of time. As manufactured crosses recount the past and look forward to the eschaton, they concurrently function in the age of the Church, offering specific, contemporary points of access to all the larger cross-sign represents. In its multivalent identity, the cross’ status as the Church’s central sign reflects the Church’s own temporal position, simultaneously commemorating sacred history, functioning in the present day, and preparing for the Second Coming. Although rarely recognized, the Church-time form of the cross—which I term the “instrumental” cross—is often a discernable component of early medieval cross-objects and images. I argue that we can recognize the instrumental cross among the commemorative and proleptic aspects of the sign because a formal and conceptual language developed to articulate it. In its instrumental form, the cross becomes the sign of the Church in its role as mediator between Christians, Christ and the eschaton, affirming the indispensable place of man-made artwork in that project. The instrumental cross, in turn, signals the instrumentality of the many artworks into which it is incorporated. It plays a particularly important role in manuscripts. In the first half of the dissertation I define a class of visual strategies that communicate the instrumental identity of the cross. I treat works in many media in Chapter 1 and focus on manuscripts in Chapters 2–3. The second half of the dissertation concentrates upon the case studies of four complex, hitherto neglected gospel codices from ninth–tenth century western France. In each, the deep relationship between Church-time cross and gospel book drives a pictorial program that is crafted to define a specific codex as an manufactured instrument, made to integrate its community with the larger project of the Church for which the cross-sign stands.<br>History of Art and Architecture
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Gerace, Samuel Thomas. "Holding Heaven in their hands : an examination of the functions, materials, and ornament of Insular house-shaped shrines." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/28697.

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Since the nineteenth century, the provenances, functions, and defining characteristics of a group of Insular portable containers, commonly called house-, tomb-, or church-shaped shrines, have been of interest to a number of disciplines such as History of Art, Archaeology, and Museology. As nearly all Insular house-shaped shrines were found empty or in fragmentary states, their original contents are a continued point of scholarly debate. In response to these examinations and based in part on the seventh-century riddle on the Chrismal found in the Ænigmata of Aldhelm, bishop of Sherborne, this thesis proposes questions such as: what type of container is best categorised as an Insular house-shaped shrine, what were their original contents and functions, and do their forms and materials communicate any specific cultural message(s)? By engaging with the two core concepts of functionality and materiality, which are further informed through direct object handlings of select Insular portable shrines, this thesis examines the forms and materials used in their construction. Taking these questions and the historical conversation into account, this thesis draws on the terminology employed to denote sacral containers in Old Irish and Latin works, which include hagiography and penitentials, discussions on the Temple of Jerusalem within early medieval exegesis, depictions of Insular house-shaped shrines and analogous forms in stonework and other mediums, and antiquarian, archaeological, and anthropological accounts of the discovery of Insular house-shaped shrines to more fully examine the functions of these enigmatic boxes. In doing so, the place of Insular house-shaped shrines within early medieval art, both Continental and Insular, will be more fully outlined. Additionally, a working definition of what can constitute an Insular house-shaped shrine is developed by examining their materiality, form, and prescribed functional terms, such as ‘reliquary’ and ‘chrismal’. Finally, this thesis shows that the functions of Insular house-shaped shrines are best understood in an overlapping and pluralistic sense, namely, that they were containers for a variety of forms of sacral matter and likely were understood as relics themselves only in later periods, which modern antiquarians later used as meaning-making devices in their writings on the spread of the early medieval ‘Celtic’ Church.
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O'Hear, Natasha. "Contrasting images of the Apocalypse in late medieval and early modern art : a contribution to the discussion of virtual exegesis." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496596.

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Books on the topic "Early Medieval art"

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Early medieval art. Oxford University Press, 2002.

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Hollander, Hans. Early medieval. Universe Books, 1990.

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Early medieval. Herbert, 1990.

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Holländer, Hans, and Hans Holländer. Early medieval. Universe Books, 1990.

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Early medieval art of Haryana. Koshal Book Depot, 2003.

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George, Henderson. Early medieval art and civilisation. The Folio Society, 2004.

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Hicks, Carola. Animals in early medieval art. Edinburgh University Press, 1993.

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Early medieval art: Carolingian, Ottonian, Romanesque. Thames and Hudson, 1989.

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John, Beckwith. Early medieval art: Carolingian, Ottonian, Romanesque. Thames and Hudson, 1985.

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Madigan, Susan Pinto. Early medieval & romanesque art: Pocket reference. 2nd ed. Edited by Calkins Robert G. Reiner-McCuen, 2002.

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Book chapters on the topic "Early Medieval art"

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Stokstad, Marilyn. "The Early Christian Period." In Medieval Art, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-2.

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Stokstad, Marilyn. "The Early Byzantine Period." In Medieval Art, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-3.

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Stokstad, Marilyn. "Early Medieval Art in the West." In Medieval Art, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429037184-4.

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Shoaf, Matthew G. "Voice and Wisdom in Early Italian Art." In Voice and Voicelessness in Medieval Europe. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1007/978-1-137-39706-5_13.

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Smith, Kathryn A. "“‘Specially English’: Gothic Illumination c.1190 to the Early Fourteenth Century”." In A Companion to Medieval Art. John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch24.

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Binski, Paul. "Two early collegiate parish churches in Cambridge." In Medieval Art, Architecture and Archaeology in Cambridge. Routledge, 2022. http://dx.doi.org/10.4324/9781003244981-7.

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Ataoguz, Kirsten. "Role of Light–Shadow Hierophanies in Early Medieval Art." In Handbook of Archaeoastronomy and Ethnoastronomy. Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-6141-8_177.

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Flora, Holly. "Representing Women and Poverty in Late Medieval Art." In Gender, Otherness, and Culture in Medieval and Early Modern Art. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65049-4_4.

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Nees, Lawrence. "Ethnic and Primitive Paradigms in the Study of Early Medieval Art." In Paradigms and Methods in Early Medieval Studies. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12305-3_3.

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Troup, Cynthia. "Art History and the Resistant Presence of a Saint — The chiesa vecchia Frescoes at Rome’s Tor de’ Specchi." In Late Medieval and Early Modern Studies. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.lmems-eb.3.3529.

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Conference papers on the topic "Early Medieval art"

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Рогожинский, А. Е., and Д. В. Черемисин. "AN UNUSUAL SUBJECT IN THE ROCK ART IMAGERY OF THE OLD-TURKIC PERIOD FROM THE ALTAI." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.361-366.

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В 2001 г. в долине р. Чаган на Алтае найдена и опубликована Д.В.Черемисиным удивительная миниатюра, гравированная на скале в древнетюркское время. В центре изображен породистый конь с тамгой на крупе, с двух сторон удерживаемый на веревках воинами третий воин готовится выстрелить в животное из лука. Первоначально воспринятая как сцена укрощения или жертвоприношения коня, эта картина теперь рассматривается авторами как необычный для традиционного наскального искусства и для эпоса кочевников Центральной Азии сюжет, повествующий о намеренном убийстве коня, отмеченного тамгой его владельца. Точный возраст миниатюры пока не установлен. Своеобразная форма тамги имеет сходство с тамгами басмылов, представленными на памятниках Монголии, но более напоминает тамгу тюргешей, известную по нумизматическим материалам и петроглифам Семиречья. In 2001 an amazing miniature engraved during the Old-Turkic period on a rock in the Chagan Valley in the Altai, was found and published by D.V. Cheremisin. In the center of the composition a thoroughbred horse with a tamga on its croup is engraved, it is held with ropes by two warriors the third warrior is preparing to shoot the animal with a bow. Originally perceived as a scene of taming or sacrificing a horse, this depiction is now considered by the authors as a subject, unusual for the traditional rock art and for the epic of Central Asian nomads: the purposive killing of a horse marked by its owners tamga. The exact dating of the engravings has not yet been established. The peculiar form of the tamga resembles the Basmyls tamga represented in rock art and at the memorial stele from Bombogor (Mongolia), but is more reminiscent of the tamga of the Turgeshes, known from early medieval coins and petroglyphs of the Semirechye in Kazakhstan.
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Самашев, З. "SHIMAILY – A NEW LOCATION OF PETROGLYPHS IN EASTERN KAZAKHSTAN." In Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.301-315.

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В статье приводятся сведения о петроглифах урочища Шимайлы на территории Тарбагатайского района Восточно-Казахстанской области Республики Казахстан. Наскальное искусство этого памятника охватывает время от эпохи бронзы до раннего средневековья. Основные мотивы изображений бронзового века антропоморфная фигура, зооморфные изображения, колесница, знаки-символы и предметы вооружения. Основу звериного образа наскальных изображений Шимайлы бронзового века составляет триада рогатых животных: бык, горный козел/архар, олень. В репертуар петроглифов эпохи бронзы входят также и другие травоядные животные, хищные звери и птицы. Последние представлены изображениями дрофы, которые чаще всего включены в состав многофигурных композиций. Хищники представлены фигурами волков, которые преследуют или терзают парнокопытных. К переходному периоду от эпохи бронзы к раннему железному веку в Шимайлы относятся образы птицеголовых или клювастых оленей, идентичные фигурам на так называемых оленных камнях. К раннесакскому и развитому сакскому периодам относятся изображения оленей поджарых, в летящей позе и/или стоящих на кончиках копыт, с большими глазами, ветвистыми откинутыми назад рогами. Зафиксированы тамги средневековых народов. The article includes new information on the petroglyphs of the Shimaily (Tarbagatai district of the East Kazakhstan region of the Republic of Kazakhstan). The imagery of this rock art site is related to the period from the Bronze Age to the Early Middle Ages. The main images of the Bronze Age are an anthropomorphic figure, numerous zoomorphic images, a chariot, depictions of weapons, signs and symbols. Animal images are basically represented by the figures of bulls, mountain goats and deer. Other herbivores are also depicted as well as predators and birds. The latter are represented by images of bustards, which are most often included in the multi-figure compositions. Predators are mostly wolves that shown in the scenes of pursuing or tormenting the artiodactyls. Another series of images in Shimaily refers to the transitional period from the Bronze Age to the Early Iron Age. These are birdheaded or beaked deer, identical to the figures depicted on the so-called deer stones. The Early Saka and developed Saka periods include a series of typical deer figures: theiy are lean, flying and/or standing on the tips of the hoofs, with large eyes, with branchy antlers thrown back. The tamga-signs of the medieval peoples are also recorded in Shimaily.
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Alkhas, Argun. "THE COMPLEX ANALYSIS OF ANAKOPIA FORTRESS GATES CENTRE ARCHITECTURE � THE CAPITAL OF THE EARLY MEDIEVAL ABKHAZIAN KINGDOM." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/5.3/s21.076.

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Rhoten, Ronald P. "The Trebuchet: Accuracy Analysis of a Medieval Siege Engine." In ASME 1999 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/detc99/cie-9129.

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Abstract Throughout history there have been a variety of accuracy measures applied to the act of throwing, hurling, launching and/or firing of objects. These include string measure, mean radius, extreme spread, closest to center, probability of hit and score. There are two objectives of the present contribution. The first is expository in nature, to describe the use and relative merits of these measures. Historical data will be examined to estimate the accuracies of such weapons as the trebuchet (a technologically advanced form of a catapult), longbow, smooth bore rifle, “Kentucky” muzzleloading rifle, early breech loading rifle and turn of the century schuetzen rifle. Data related to modern military and sporting firearms will also be discussed. The second objective is to illustrate the use of such measures by evaluating actual data from firings of a scale model of a trebuchet. The model was designed using computer simulations and optimization techniques developed by others.
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5

Pecci, Antonio, and Ida Campanile. "Aontia: un antico toponimo dalle Mappe Aragonesi." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11436.

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Aontia: an ancient toponym from the Aragon mapsThe Aragon geographical maps represent the territory of the ancient Kingdom of Naples. they date back to the second half of the fifteenth century, probably some of them or some copies were subsequently modified or updated. These ancient maps were rediscovered about thirty years ago in the State Archives of Naples and in the Bibliothèque Nationale de France in Paris, and they have been under study for some years. They are unfortunately still little used in the scientific field, although several contributions have demonstrated their validity as an investigation tool thanks to their undoubted information potential. In fact, thanks to the very high degree of characterization of these maps it is possible to advance hypotheses and considerations of a historical-archaeological nature of the territories they represent. It is often toponymic analysis that offers insights and guides the early stages of research: toponyms relating to natural and anthropic elements inform about landscapes rich of medieval and classical references. The case study proposed here relates to the toponym Aontia, located on the Aragon maps near the centers of the Basilicata of Cirigliano and Gorgoglione. It is a place currently unidentified and not attested in any medieval or modern source; its toponym may refer to some references relating to an epithet of the well-known Greek divinity Artemis and to the presence of a sanctuary dedicated to it or to an ancient settlement. Starting from the analysis of the toponym Aontia, a localization proposal will be carried out based on the etymological and historical study, on the topographic survey and on the remote sensing analysis.
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6

Талина, Г. В. "Historical Comparative Studies as Method of Investigating of Political History Problems (on the Example of Medieval and New History)." In Современное образование: векторы развития. Роль социально-гуманитарного знания в подготовке педагога: материалы V международной конференции (г. Москва, МПГУ, 27 апреля – 25 мая 2020 г.). Crossref, 2020. http://dx.doi.org/10.37492/etno.2020.63.83.002.

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статья посвящена применению метода сравнительного анализа при преподавании двух базовых модулей дисциплины «Истории» для студентов неисторических направлений подготовки – истории России и всеобщей истории. Политические процессы, характерные для мира, и в первую очередь, для стран Европы, сопоставимы с процессами, происходившими в России, и являются перспективным объектом анализа. Политогенез, раннефеодальные монархии, сословно-представительные монархии, абсолютные монархии, монархии в условиях просвещенного абсолютизма, конституционные монархии, революции, республиканские государства и др. – дидактические единицы, в равной степени значимые для понимания эволюции своего и иных государств, ключ к анализу общего и особенного в развитии разных стран мира. the article is devoted to using of comparative analysis method in teaching two basic modules of the subject “History” for the students of non-history training directions – History of Russia and World History. Political processes typical for the world and firstly for the European countries can be compared with ones that took place in Russia and are promising objects for the analysis. Political genesis, early feudal monarchies, estate-representative monarchies, absolute monarchies, monarchies of enlightened absolutism, constitutional monarchies, revolutions, republic states an etc. are didactical units equally important for understanding of evolution in native country and other states, clue to the analysis of common and special in the development of different countries in the world.
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7

Strokov, A. "НЕКРОПОЛЬ ФАНАГОРИИ – ПЕРВЫЕ РЕЗУЛЬТАТЫ РАДИОУГЛЕРОДНОГО ДАТИРОВАНИЯ". У Радиоуглерод в археологии и палеоэкологии: прошлое, настоящее, будущее. Материалы международной конференции, посвященной 80-летию старшего научного сотрудника ИИМК РАН, кандидата химических наук Ганны Ивановны Зайцевой. Samara State University of Social Sciences and Education, 2020. http://dx.doi.org/10.31600/978-5-91867-213-6-93-94.

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In Russian archaeology radiocarbon dating is used in very rare cases when antiquities from historical periods are studied based on coin finds and historical sources which have their own historical chronology. However, this arrangement does not always work, as some graves do not contain items that can be dated to a narrow time span while a great number of graves often have no funerary offerings at all. The State Historical Museum in Moscow houses archaeological materials from the Phanagoria necropolis excavated in 1936. Phanagoria is is the largest city of the Classical period and the early medieval period (540 BC–10th century). The collection from the necropolis excavations has preserved organic carbon-containing finds from grave 21 (the wood served to make a coffin – juniper, and sea algae). These materials were selected for AMS-dating. The following results were obtained: wood: 342–420 calAD, sea algae – 132–241 calAD. Of particular interest is the impression of the coin of the Roman Emperor Valens (364–378) found in this grave. The AMS-date of the coffin wood fully confirms the traditional archaeological dating of the finds whereas the coin offers an opportunity to narrow down the timeline of the grave to several decades (375–420). The older age of sea algae is caused by a marine reservoir effect which must be taken into account during the verification of the radiocarbon age of the consumers the food intake of which probably included algae.
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Макаров, Н. А., С. В. Шполянский, А. Н. Федорина, and Н. Д. Угулава. "TO THE STUDY OF THE NEAREST DISTRICT OF MEDIEVAL SUZDAL: RESEARCHES IN THE HEADWATERS OF THE KAMENKA RIVER IN 2018–2019." In Археология Владимиро-Суздальской земли. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-94375-304-6.7-29.

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В статье рассматриваются результаты разведочных работ, проведенных Суздальской экспедицией ИА РАН в 2018 - 2019 гг. в ближней округе Суздаля, в районе села Вышеславского, в верхнем течении р. Каменки. Здесь на площади в 15 кв. км было открыто 21 средневековое селище, на которых собрана представительная коллекция вещей и керамики. Установлено, что освоение древнерусским населением региона начинается на рубеже XI - XII вв. К середине - второй половине XII в. сеть расселения в микрорегионе достигает наибольшей плотности. В это время на одном из селищ (Вышеславское 3) функционирует двор или усадьба представителей социальной элиты княжества, что выразилось в яркой серии находок на памятнике: свинцовой подвесной печати с изображением св. Козьмы и Дамиана, позолоченного колта, змеевика в форме киотца и других вещей. Основные трансформации структуры расселения в регионе во второй половине XIII - XIV в. проявились в уменьшении количества небольших (площадью до 1,5 га) поселений, концентрации населения на относительно крупных памятниках. Материалы позднего Средневековья и раннего Нового времени (вторая половина XV - XVI в.) были обнаружены только при обследовании села Вышеславского. Таким образом, можно говорить о глубоких изменениях структуры расселения во второй половине - конце XV столетия. The results of the prospecting works carried out by the Suzdal expedition of IA RAS in 2018-2019 in the near district of Suzdal, near the village of Vysheslavskoye, in the basin of the headwaters of the Kamenka river are considered in the paper.Here, 21 medieval settlements, on which the representative collection of things and ceramics is collected, were found on the area of 15 sq.km. It is established that the development of the region by the Old Russian population begins at the turn of the XI-XII centuries. The settlement network in the microregion reaches its highest density by the middle - second half of the XII century. At this time, there is a yard or estate of the social elite of the Principality in one of settlements (Vysheslavskoye 3), which was expressed in a bright series of finds on the site: a lead pendant seal with the image of St. Kozma and Damian, a gilded temple headdress pendant (Kolt), a serpentine in the form of an icon case and other things. The main transformations of the settlement structure in the region in second half of the XIII-XIV centuries manifested in a decrease in the number of small (up to 1.5 hectares) settlements, and in the concentration of population on rather large sites. Materials of the late Middle Ages and early Modern times (second half of the XV-XVI centuries) were found only in the survey of the village Vysheslavskoye. Thus, it is possible to speak about deep changes in the structure of settlement in the second half-the end of the XV century.
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9

Суханов, Е. В. "POLISHED POTTERY OF THE NON-ALAN POPULATION OF THE SALTOVO-MAYAKI CULTURE FROM THE MIDDLE DON RIVER: SELF-PRODUCED OR IMPORTED WARES?" In Вестник "История керамики". Crossref, 2020. http://dx.doi.org/10.25681/iaras.2020.978-5-94375-316-9.79-90.

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Большинство погребальных памятников второй половины VIII – начала X в. на Среднем Дону представлено двумя типами объектов. К первому относятся катакомбные могильники, оставленные аланами. Ко второму типу относятся ямные могильники, которые нельзя связать с каким-то определенным раннесредневековым этническим объединением. Донские аланы, оставившие катакомбные могильники, существенно отличались от носителей ямного обряда своим происхождением, морфологическим обликом и хозяйственно-культурными традициями. Несмотря на эти различия, керамика катакомбных и ямных могильников Среднего Дона имеет много общего как в технологии, так и по морфологии. В статье исследуется вопрос о причинах этого сходства на примере лощеной столовой посуды, которая является одним из наиболее ярких «маркеров» салтово-маяцких древностей. Анализу подвергнуты археологические, антропологические, экспериментальные и этнографические данные. На основании результатов исследования высказано предположение, что население салтово-маяцкой культуры, оставившее на Среднем Дону ямные могильники, не имело собственного производства лощеной посуды, а использовало посуду, изготовленную аланскими гончарами. Institute of Archaeology of Russian Academy of Sciences, Moscow, Russia Most of funeral monuments from the second half of the 8th - beginning of the 10th century in the middle Don River are represented by two types of objects. The first type includes catacomb cemeteries left by the Alans. The second one consists of pit grave cemeteries which can’t be referred to any certain early medieval ethnic association. The Don Alans who left catacomb cemeteries differed significantly from the bearers of the pit grave tradition by their origin, morphological appearance and economical and cultural traditions. In spite of these differences the pottery of the catacomb and pit grave cemeteries in the middle Don River has a lot in common both in technology and morphology. The article analyses the issue of this similarity on the example of polished pottery which is one of the clearest markers of the Saltovo-Mayaki antiquities. The archaeological, anthropological, experimental and ethnographical data were scrutinized. Based on the results of the study it has been suggested that the population of the Saltovo-Mayaki culture which left pit grave cemeteries in the middle Don River didn’t have self-produced polished pottery, but used wares made by the Alan potters.
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Reports on the topic "Early Medieval art"

1

Birnbaum, David J., Ralph Cleminson, Sebastian Kempgen, and Kiril Ribarov. White Paper on Character Set Standardization for Early Cyrillic Writing after Unicode 5.1. Otto-Friedrich-Universität, 2021. http://dx.doi.org/10.20378/irb-49898.

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The White Paper on Character Set Standardization for Early Cyrillic Writing after Unicode 5.1 emerged from discussions among the authors at the "Slovo" conference in Sofia in 2008. It is partially a response to documents published by the Serbian Academy of Arts and Sciences. It has been written for the benefit of medieval Slavic philologists.
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2

Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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