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Journal articles on the topic 'Late medieval sculpture'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Belošević, Nikolina, and Danko Dujmović. "Reflections of the North Adriatic stone-carving workshops in early medieval Sisak." Zbornik radova Filozofskog fakulteta u Pristini 53, no. 3 (2023): 189–212. http://dx.doi.org/10.5937/zrffp53-45772.

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The paper contributes to the interpretation of five fragments of early medieval sculpture and two capitals from the 5th century found around Sisak. Through the historical context and the analysis of the formal elements of early medieval sculpture, the authors discuss influences that came to the Pannonia Inferior from the cultural centres in the northern Adriatic, thus reflecting the specific circumstances in which Sisak is mentioned again after the late antique period in written sources of the early 9th century.

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Daly, Aoife, and Tone M. Olstad. "Fragile Fragments - A New Provenance for the Late Medieval Triptych in Kinn Church, Norway." Meddelelser om Konservering (MoK) 1, 2022 (January 11, 2023): 49–67. https://doi.org/10.5281/zenodo.7565711.

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The 12th-century church on the island of Kinn, off the west coast of Norway, still houses parts of a late-medieval triptych. The central section of the triptych was later built into an altarpiece from 1644, and three female sculptures from the triptych are still kept in the church. Since 1936 it has been suggested that the Kinn triptych belonged to a group of late-medieval triptychs kept in various churches along the coast and named the Leka group. The aim of the work presented in this paper is to re-examine that suggestion and the provenance of the triptych. A detailed study of the three scul

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3

Williamson, Paul. "Loose Ends and a Discovery: Cataloguing French Late Medieval Sculpture." Sculpture Journal: Volume 3, Issue 1 3, no. 1 (1999): 1–5. http://dx.doi.org/10.3828/sj.1999.3.1.1.

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4

Drimmer, Sonja. "The Severed Head as Public Sculpture in Late Medieval England." Journal of Medieval and Early Modern Studies 50, no. 2 (2020): 293–321. http://dx.doi.org/10.1215/10829636-8219566.

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Chronicles of fifteenth-century England teem with severed heads. Frequently, these texts focus less on the event of decapitation than on its enduring result: namely, the modified and adorned head of the deceased, spiked and exhibited in a prominent public venue. This article concentrates on textual descriptions of such sights in order to propose that the head was not simply a byproduct of the premodern state’s judicial cruelty or merely evidence of the deceased’s damnation; rather, the displayed head was a visual phenomenon in its own right, one that was often more available for public inspect

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Mascolo, Marco M. "A Medieval Way to Modernity: Wilhelm R. Valentiner, Late Medieval Sculpture and German Expressionism." Visual Resources 32, no. 1-2 (2016): 50–75. http://dx.doi.org/10.1080/01973762.2016.1132833.

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Kloppmann, Wolfram, Lise Leroux, Philippe Bromblet, Pierre-Yves Le Pogam, Anne Thérèse Montech, and Catherine Guerrot. "A pan-European art trade in the late middle ages: Isotopic evidence on the master of Rimini enigma." PLOS ONE 17, no. 4 (2022): e0265242. http://dx.doi.org/10.1371/journal.pone.0265242.

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The identity of artists and localisation of workshops are rarely known with certainty before the mid-15th century. We investigated the material used by one of the most prolific and enigmatic medieval sculptors, the Master of the Rimini Altarpiece or Master of Rimini, active around 1420–40. The isotope fingerprints (Sr, S and O) of a representative corpus of masterpieces but also minor artworks, attributed to the Master of Rimini and his workshop, are virtually identical, demonstrating the unity of the corpus and a material evidence behind the stylistic and iconographic ascriptions. The materia

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Friedman, John Block. "Word into Image: Apocryphal Infancy Gospel Motifs on Antoni Gaudí's Sagrada Familía Nativity Façade." Digital Philology: A Journal of Medieval Cultures 12, no. 2 (2023): 215–55. http://dx.doi.org/10.1353/dph.2023.a911845.

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Abstract: The Early Christian and medieval Infancy Gospels' legend of Jesus animating clay sparrows and being chastised for it by his father is depicted on one of the sculptures on the nativity facade of the basilica Sagrada Familía in Barcelona, made between 1883 and 1926 by the Catalan Modernist architect Antoni Gaudí (1852–1926). There, a youthful Jesus holds a bird while a grand and parental Joseph gazes fixedly at him. No scholarly discussion of this portion of the Sagrada Familía's nativity façade refers to the Infancy Gospels in their various medieval embodiments as a source for this sc

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Kelders, Ann. "De Gouden Eeuw van de Bourgondisch-Habsburgse Nederlanden." Queeste 27, no. 1 (2020): 63–70. http://dx.doi.org/10.5117/que2020.1.003.keld.

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Abstract The Royal Library of Belgium (kbr) has opened a new permanent museum showcasing the historical core of its collections: the luxurious manuscript library of the dukes of Burgundy. Centred around a late medieval chapel that is part of kbr’s present-day building, the museum introduces visitors to medieval book production, the historical context of the late medieval Low Countries, and the subject matter of the ducal library. The breadth of the dukes’ (and their wives’!) interests is reflected in the manuscripts that have come down to us, ranging from liturgical books over philosophical tr

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KOMOVA, M. A. "HISTORICAL AND CULTURAL EXPERTISE AND THE SOURCES OF THE RUSSIAN WOODEN SCULPTURE "NIKOLA MTSENSKY" ORIGINATION." JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 9, no. 3 (2020): 87–100. http://dx.doi.org/10.22394/2225-8272-2020-9-3-87-100.

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The purpose of the article is to present the history and the analysis of the Russian wooden sculpture “Nikola Мtsenskiy” results of the examination from Peter and Paul Cathedral in Mtsensk. For the first time, the author conducted a historical and cultural examination of this object for religious purposes. The article defines the historical and cultural context of this object existence, its veneration as a relic, the problem of comparing the “The Legend of the appearance of the miraculous icon of St. Nicholas Wonderworker in the city of Mtsensk” and the preserved sculpture. The author also exa

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Bradanović, Marijan. "Nekoliko primjera baštine kasnoga srednjovjekovlja Rijeke i Kvarnera za profesora Vežića." Ars Adriatica 7, no. 1 (2017): 113. http://dx.doi.org/10.15291/ars.1374.

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This paper focuses on the still insufficiently researched subject of architecture and decorative architectural sculpture in late medieval Rijeka. Based on the extant fragments and the more completely preserved monuments, the author presents this heritage in the light of Kvarnerian (historically northern Dalmatian) localities, as an aspect complementing our knowledge of continental influences in the Kvarner Gulf, the inland Istria, and the Kras region.

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Pinkus, Assaf. "Transformations in Wood: Between Sculpture and Painting in Late Medieval Devotional Objects." Viator 48, no. 3 (2017): 263–91. http://dx.doi.org/10.1484/j.viator.5.116356.

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12

Ralph, Karen. "‘Behold the Wounds on Christ’: Crucifixion Imagery in Late Medieval Ireland." Religions 13, no. 6 (2022): 570. http://dx.doi.org/10.3390/rel13060570.

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Crucifixion scenes in late medieval Ireland, as was typical elsewhere in Europe at the time, largely present a pitiful image of a wounded and tortured Christ. This paper examines the iconography of these scenes across various media including manuscript illumination and sculpture in stone and metalwork from the late fourteenth to the mid sixteenth century. The iconography is situated within the wider European artistic tradition and within the context of contemporary religious sentiment in Ireland as expressed through the literature and material culture. Finally, the interaction between image/ob

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Terry, John T. R. "Æthelwulf’s De abbatibus and the Anglo-Saxon Ecological Imagination." Journal of Medieval and Early Modern Studies 49, no. 3 (2019): 479–500. http://dx.doi.org/10.1215/10829636-7724625.

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Modern scholarship on early medieval views of nature tends to rely too heavily on binary interpretations of positive and negative representations. This article uses an early ninth-century Anglo-Latin poem, Æthelwulf’s De abbatibus (“On the abbots” of an unknown Northumbrian monastic community), as a window into the ways in which early medieval people saw their natural world not as a passive space for human activity, but as an active participant in religious life. This reading comports with ecocritical interpretations of Æthelwulf’s poem alongside contemporary Anglo-Saxon stone sculpture. An un

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Verdi Webster, Susan. "Art Ritual, and Confraternities in Sixteenth Century New Spain. Penitential Imagery at the Monastery of San Miguel, Huejotzingo." Anales del Instituto de Investigaciones Estéticas 19, no. 70 (1997): 5. http://dx.doi.org/10.22201/iie.18703062e.1997.70.1785.

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During the sixteenth century in New Spain, the celebration of some Christian feasts, especiality Holy Week and Corpus Christi, was much more complex than any of the dramatic rites of Late Medieval Spain. Theater, architecture, and sculpture were used by the mendicant orders, and by the confraternities associated to them, to reinforce instruction. Mural painting was used to chronicle these celebrations as well as to remind the faithful of their representation, as is discussed in this analysis of the Franciscan murals of Huejotzingo.

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Scholten, Frits. "Different Hands:." Rijksmuseum Bulletin 67, no. 2 (2019): 100–121. http://dx.doi.org/10.52476/trb.9723.

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A recently acquired late fourteenth-century boxwood micro-sculpture of a monk in a pulpit is in fact an extremely rare example of a late medieval inkwell. The object’s unusual iconography seems at first to be mocking in intent, given the awkward way in which the monk, arms upraised and missing his hands, is imprisoned in his pulpit. He conjures up associations with amusing illustrations in the margins of manuscripts and the often anti-clerical ridicule expressed by the carvings on misericords. And yet it is quite conceivable that the object had a serious purpose. The silent monk, who ‘lends’ h

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Edwards, Nancy. "Edward Lhuyd and the Origins of Early Medieval Celtic Archaeology." Antiquaries Journal 87 (September 2007): 165–96. http://dx.doi.org/10.1017/s0003581500000883.

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The Welshman Edward Lhuyd (?1659/60–1709), Keeper of the Ashmolean Museum, was a naturalist, philologist and antiquarian. He wrote the Welsh additions to Camden's Britannia (1695) and undertook extensive research for an Archaeologia Britannica. He was part of the scientific revolution centred on the Royal Society and was influenced by the flowering of Anglo-Saxon studies in late seventeenth-century Oxford. Although many of his papers were destroyed, sufficient evidence survives to assess his methodology for recording early medieval antiquities – particularly inscribed stones and stone sculptur

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17

Reesing, Ingmar. "From ivory to pipeclay: The reproduction of late medieval sculpture in the Low Countries." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 67, no. 1 (2017): 256–85. http://dx.doi.org/10.1163/22145966-90000798.

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18

Veress, Ferenc. "Following the Star : Nativity Scenes and Sacred Drama from the Middle Ages to the Baroque." Uránia 1, no. 1 (2021): 58–77. http://dx.doi.org/10.56044/ua.2021.1.4.eng.

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This study discusses the origin, and liturgical function, of a popular accessory of the Christmas celebrations, that is, the Bethlehem nativity scene. The events of the life of Jesus attracted much attention in the early period of Christianity, as a result of which the Holy Land was visited by flocks of pilgrims. Descriptions of the sentiments aroused by a pilgrimage to Bethlehem may be found in sources as early as the letters of Saint Jerome. Fragments of the Bethlehem manger were kept in the Santa Maria Maggiore Cathedral in Rome, so it is here that one of the first nativity scenes, a sculpt

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19

Paulino Montero, Elena. "Touching Female Memories in the Purification Funerary Chapel in Burgos (c. 1482–1531)." Nuncius 39, no. 2 (2024): 275–304. http://dx.doi.org/10.1163/18253911-bja10104.

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Abstract Late medieval women were able to promote highly sophisticated funerary ensembles, which included architecture, painting, sculpture, liturgy, textiles, lighting and other ephemeral elements, and to adapt them to their specific ideas and needs. These material and ephemeral elements were manipulated to create complex spaces so as to generate sensory experience. This article will focus on the Purification Chapel in the Cathedral of Burgos (Spain) built by the Countess of Haro, Mencía de Mendoza, at the end of the fifteenth century. We will use art historical analysis to understand the rel

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20

Lelong, Olivia, and Julie A. Roberts. "St Trolla's Chapel, Kintradwell, Sutherland: The occupants of the Medieval burial ground and their patron saint." Scottish Archaeological Journal 25, no. 2 (2003): 147–63. http://dx.doi.org/10.3366/saj.2003.25.2.147.

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Summary The chance discovery of burials at the traditional site of St Trolla's Chapel, Kintradwell, near Brora, led to their rescue excavation and subsequent analysis. The results confirm that this was the site of a chapel in the Medieval period, with radiocarbon dates indicating the use of the burial ground from the earlier 11th to the 16th or 17th centuries. The skeletal remains reveal something of the personal histories of the occupants, with evidence for warfare, hard labour, injury through accident and a possible case of congenital syphilis. The site's association with St Triduana and the

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Cowley, David C., and Simon M. D. Gilmour. "Aerial Survey in Scotland 2003 Discovery from the air: a pit-defined cursus monument in Fife." Scottish Archaeological Journal 25, no. 2 (2003): 171–78. http://dx.doi.org/10.3366/saj.2003.25.2.171.

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Summary The chance discovery of burials at the traditional site of St Trolla's Chapel, Kintradwell, near Brora, led to their rescue excavation and subsequent analysis. The results confirm that this was the site of a chapel in the Medieval period, with radiocarbon dates indicating the use of the burial ground from the earlier 11th to the 16th or 17th centuries. The skeletal remains reveal something of the personal histories of the occupants, with evidence for warfare, hard labour, injury through accident and a possible case of congenital syphilis. The site's association with St Triduana and the

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22

Foster, Richard. "A Statue of Henry III from Westminster Abbey." Antiquaries Journal 91 (June 30, 2011): 253–82. http://dx.doi.org/10.1017/s0003581511000096.

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AbstractIt is generally assumed that no medieval figure sculpture has survived from the north front of the nave of Westminster Abbey after three and a half centuries of successive restorations. This assumption was challenged by the appearance at auction in 2007 of a life-sized statue of Henry iii bearing some of the stylistic hallmarks of the late thirteenth and fourteenth centuries. The statue, according to its vendor, was acquired from the masons’ yard at Westminster Abbey in 1980, during the most recent major restoration of the north front carried out by Peter Foster, Surveyor of the Fabric

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23

Planchette, Yoanna. "The Old Testament Prophecy of the Resurrection of the Dry Bones between the West and Byzantium." Arts 10, no. 1 (2021): 10. http://dx.doi.org/10.3390/arts10010010.

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The imagery of the vision of the valley of dry bones (Ezek 37. 1–14) still fascinates theologians and historians of religion with its exegetical and liturgical significance. Rarely represented in medieval art, the iconography of this singular topic related to the Last Judgment deserves closer attention on the part of art historians. The aim of the present contribution is to remedy this situation by offering an analysis of the main pictorial representations of Ezekiel’s prophecy within the medieval East and West. This paper examines the evolution of the theme from the first pictorial evidence f

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Sara, Carreño. "De imagen a cuerpo santo: el crucifijo polimatérico de la Catedral de Ourense (siglo XIV). Historia, usos, recepción." Arte Cristiana. Rivista internazionale di storia dell'arte e di arti liturgiche CXI (April 30, 2023): 106–17. https://doi.org/10.5281/zenodo.8364297.

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This paper studies the medieval sculpture of Christ crucified known as Santo Cristo kept in the cathedral of San Martiño de Ourense in the northwest of the Iberian Peninsula. Firstly the analysis will focus on the impact this image has had over the centuries on the sacred topography and spatial configuration of this cathedral, including changes in the naming of altars, alterations to existing volumes, and even the creation of new spaces for worship and devotion. Secondly, the liturgical and ritual uses this crucifix would have had in the late Middle Ages will be investigated, particular

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Palozzi, Luca. "Venetian or Adriatic? Refocusing the Geography of Late-Medieval Stone Sculpture in the central Adriatic Basin: Four Case Studies." Hortus Artium Medievalium 20, no. 2 (2014): 861–73. http://dx.doi.org/10.1484/j.ham.5.102700.

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Babic, Valentina. "A sanctuary screen from the island of Kolocep." Zograf, no. 41 (2017): 51–75. http://dx.doi.org/10.2298/zog1741051b.

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The paper discusses the structure and carved decoration of the restored marble sanctuary screen from the island of Kolocep near Dubrovnik. Based on the early medieval history of present-day southern Dalmatia and the fragmentary inscription commemorating a queen as the donor of the screen, it may be concluded that she was one of the Serbian Doclean (Duklja) queens from the second half of the eleventh century. The inscription is the only evidence that the kings of Dioclea ruled over the Elaphite islands. The carved decoration is typical of the Middle Byzantine period (9th-12th century), with som

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Golan, Nurit. "A Portal to Knowledge." Nuncius 33, no. 1 (2018): 25–55. http://dx.doi.org/10.1163/18253911-03301002.

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Abstract This article engages with the Creation cycle (hexaemeron) sculpted on the vault of the south portal of the choir of the Holy Cross Church at Schwäbisch Gmünd (1351–1377). Several reliefs depict the cosmological creation, which was a rather rare topic in monumental sculpture on public display during the Middle Ages. Being based on cosmological theories, taught at the universities, but not expected to be shared with the laity, it is a unique intellectual cultural phenomenon. The article seeks to interpret anew the full scientific significance of these unprecedented iconographic cosmolog

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Benkő, Elek, Balázs Gusztáv Mende, Ferenc Mihály, and Erzsébet Muckenhaupt. "A csíksomlyói középkori kegyszobor a roncsolásmentes vizsgálatok és a történeti kutatások tükrében." Művészettörténeti Értesítő 72, no. 2 (2025): 313–34. https://doi.org/10.1556/080.2023.00017.

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The detailed scientific examination of the late Gothic Madonna statue of the Franciscan friary of Șumuleu-Ciuc (Csíksomlyó) took place between 2009 and 2015. This work involved the careful cleaning of the sculpture and the detailed technical examination of the piece, which included the endoscopic detection of hard-to-reach external surfaces and the inaccessible parts of the interior of the statue, sampling and the determination and radiocarbon dating of these tiny wood samples, as well as the careful collection of written sources and old representations. The statue appears first in written sou

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Harrison et al, R. M. "Amorium Excavations 1990: The Third Preliminary Report." Anatolian Studies 41 (December 1991): 215–29. http://dx.doi.org/10.2307/3642941.

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This was the third season of excavation at Amorium in east Phrygia, and the team worked for four weeks, from 1 August 1990. The archaeological aim was to study social change and development from the Hellenistic period to the Medieval, in particular the Late Roman period and so-called Dark Ages. We completed a detailed survey in the Upper Town, worked in three trenches (two of them initiated last year [L and AB] in the Upper and Lower Town, and one which was new [the Church] in the Lower Town), and further study was made of pottery and small finds. This is a new archaeological subject in this p

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Soley, Teresa. "The chivalric tomb in fifteenth-century Portugal." Sculpture Journal: Volume 30, Issue 3 30, no. 3 (2021): 263–84. http://dx.doi.org/10.3828/sj.2021.30.3.2.

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The fifteenth-century Portuguese nobility was a proud and image-conscious social group that transformed tombs into opportunities for self-promotion. Manifesting changing conceptualizations of history and agency, the nobility’s elaborately sculpted sepulchres also reveal the means of successful social advancement in this society. The ruling dynasty of Avís encouraged the chivalric ethos of the long fifteenth century to exert control over the powerful nobility and validate their expansionist agenda in Africa. This profoundly shaped the visual idiom of funerary sculpture, resulting in the emergen

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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King". Concept: philosophy, religion, culture, № 1 (7 липня 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.

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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles I

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Kaczmarek, Romuald. "Emptied places: A case study of three churches in Wrocław (of St. James, of the Blessed Virgin Mary, of St. Elizabeth)." Quart, no. 3(57) (September 1, 2020): 19–45. https://doi.org/10.19195/quart.2020.3.78057.

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Research on medieval art confronts generally with a low percentage of works preserved. A specific aspect of this problem are places that became empty, being a clear trace of the sculptural works created by individual foundations and/or having special functions in the liturgical space of churches. The article is aimed at analysing a few selected examples of such unintentional emptinesses in Wroclaw, i.e. those that occurred after the Middle Ages, between the 16th and 20th centuries. In this case, these are micro-architectural forms – corbels and niches – in three churches. The first example is

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Daza-Pardo, Enrique, and Raúl Catalán-Ramos. "The Architectural Christian Spolia in Early Medieval Iberia: Reflections between Material Reuse and Cultural Appropriation." Religions 15, no. 6 (2024): 663. http://dx.doi.org/10.3390/rel15060663.

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The reuse of construction materials has been a consistent practice throughout the history of architecture, especially prevalent during periods of transition when it was preferred for its ability to simplify installation and reduce construction costs. This practice was particularly common in late Roman urban contexts, where construction materials, especially ashlar and sculptural elements, were abundant following the abandonment of temples and public buildings. However, there are occasions when the use of spolia, or reused materials, goes beyond simple material recycling. The reuse and display

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Popovic, Ivana. "New discoveries of marble sculptures in the Sirmium imperial palace." Starinar, no. 64 (2014): 77–86. http://dx.doi.org/10.2298/sta1464077p.

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In the course of archaeological excavations carried out in 2012 and 2013, in the northwestern section of the palatial complex in Sirmium (locality 85), many fragments of porphyry and marble sculptures were discovered. Worth mentioning among the marble sculptures is a female head with a lunular diadem that had, most probably, been made during the Antonine period. The head was used as spolia incorporated in the medieval wall. It was a fragment of a statue of some goddess, possibly Juno, Minerva or the deified empress Faustina the Younger, and erected in the area of the palatial complex during th

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Tochilova, Nadezhda N. "Norwegian wooden carved portals of the XI-XII centuries. The problem of the origin and development of style." Russian Journal of Church History 1, no. 2 (2020): 45–76. http://dx.doi.org/10.15829/2686-973x-2020-2-20.

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The article is devoted to study of Art`s Early Medieval Scandinavia XI-XII centuries. This process is concerning with transitional from Late Viking Art to early Romanesque. The main focus is on the group of Norwegian wood carving portals. The system of portals decorum is the result of artistic interaction between late pagan art and art of Christianity. This process reflected in wooden portals of Norwegian stave churches and others monuments of Scandinavian wooden, stone sculptures and objects of applied art.

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Haneca, Kristof, Ria De Boodt, Valérie Herremans, et al. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (2005): 273–98. http://dx.doi.org/10.1163/22941932-02603001.

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Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and ana

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Haneca, Kristof, Ria De Boodt, Valérie Herremans, et al. "Late Gothic Altarpieces as Sources of Information on Medieval Wood Use: A Dendrochronological and Art Historical Survey." IAWA Journal 26, no. 3 (2005): 273–98. http://dx.doi.org/10.1163/22941932-90000116.

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Wooden altarpieces are important features of European medieval material culture, especially of the Late Gothic Fine Arts from the 15th and 16th century. Many of them were carved in the Brabantine towns of Antwerp, Brussels and Mechelen in present-day Belgium. Although they were highly esteemed and exported all over Europe, little is known about their production process. In order to understand the context of the creation of the altarpieces, a detailed analysis of the wood has been completed to supplement and test historical documentation and art historical approaches. Tree-ring patterns and ana

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Kharlamova, Alina. "Гермовидные средневековые изваяния Среднего Подонцовья: вопросы интерпретации и хронологии". Stratum plus. Archaeology and Cultural Anthropology, № 5 (жовтень 2022): 233–44. http://dx.doi.org/10.55086/sp225233244.

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The paper considers a group of medieval statues with traces of processing along the entire length, but without hands and feet, which makes them similar to ancient herma. Hairstyles, headdresses and pectoral decorations depicted on them are similar to the costume details depicted on full-figure statues that are associated with the Cumans. At the same time, some elements of the costume cannot be understood without knowing how these elements were depicted on full-figure statues. Medieval sculptures played an important role in the funerary and post-burial rites of the nomads, and thought to be “su

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Елихина, Ю. И. "Выставка «Совершенство традиции: произведения буддийского бурятского искусства из коллекции Государственного Эрмитажа (XIII – начала XX века)»". Iskusstvo Evrazii [The Art of Eurasia], № 4(35) (25 грудня 2024): 316–29. https://doi.org/10.46748/arteuras.2024.04.019.

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Автор рассматривает концепцию и экспонаты выставки буддийского бурятского искусства из коллекции Государственного Эрмитажа» (XIII – начала XX века), призванной показать преемственность монгольской буддийской культуры начиная со времени Чингис-хана на основе богатой коллекции Государственного Эрмитажа. В экспозиции 2024 года соединились археологические артефакты и буддийские произведения скульптуры и живописи. Целью исследования является анализ концепции выставки и рассмотрение некоторых экспонатов. Выставка, впервые объединившая артефакты буддийского искусства, археологические находки и истори

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Lewis, John, P. Graves, D. Caldwell, et al. "Dunstaffnage Castle, Argyll & Bute: excavations in the north tower and east range, 1987-94." Proceedings of the Society of Antiquaries of Scotland 126 (November 30, 1997): 559–603. http://dx.doi.org/10.9750/psas.126.559.603.

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Reports excavations in areas thought to encompass the donjon and hall respectively. Traces of an early curtain wall predating the north tower were found. At ground level, two window embrasures were revealed in the east wall of the building and, on its south side, a doorway into a passage linking with the east range. In the late seventeenth or eighteenth century the passage was blocked and a fireplace inserted into the north gable of the east range, which was occupied at least until the late eighteenth century. There are specialist reports on: `Sculptured stones' by Pamela Graves (576--8); `Coi

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Silva, Ademir Luiz da. "A “Cidade Medieval” de Goiás: o conjunto arquitetônico Lago Ideia Molhada em Hidrolândia – Goiás." Mosaico 11, no. 2 (2018): 231. http://dx.doi.org/10.18224/mos.v11i2.6180.

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Resumo: O presente artigo pretende problematizar o cenário de inspiração medieval construído pelo ex-prefeito da cidade de Aparecida de Goiânia, Goiás, Freud de Melo em sua propriedade no município de Hidrolândia (GO), onde funciona(va) o Hotel Fazenda Lago Ideia Molhada, um conjunto arquitetônico composto por 37 castelos, uma interpretação livre em tamanho supostamente natural da Arca de Noé, mais de 300 esculturas de animais e monstros lendários dentre outras coisas. Partimos fundamentalmente dos conceitos de Medievalidades e Pastiche, procurando analisar esse conjunto de obras em seu sentid

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DONAVIN, GEORGIANA. "THE VIRGIN MARY AS LADY GRAMMAR IN THE MEDIEVAL WEST." Traditio 74 (2019): 279–305. http://dx.doi.org/10.1017/tdo.2019.8.

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The Virgin Mary, as Mother of the Word, has long been associated with early literacy training in the medieval West, an association that, as this article argues, connects her to The Marriage of Philology and Mercury's Lady Grammar. While Gary P. Cestaro has demonstrated the ways in which representations of Lady Grammar became more maternal throughout the medieval period, this article demonstrates how and why the Virgin Mother took on the persona of Lady Grammar in both verbal and material arts from the High to the Late Middle Ages. It explores the famous sculptures of the Virgin and Lady Gramma

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Belintseva, Irina V., Elena V. Baranova, Vyacheslav A. Vereshagin, and Vitaly N. Maslov. "VIRTUAL RECONSTRUCTION OF THE MARKET STREET OF 18th-CENTURY KÖNIGSBERG’S OLD TOWN: SOURCES, TECHNOLOGIES, BUILDING HISTORY AND MODELS." Vestnik of Immanuel Kant Baltic Federal University Series Humanities and social science, no. 1 (2024): 41–71. http://dx.doi.org/10.5922/sikbfu-2024-1-4.

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Ahead of the 300th anniversary of the philosopher Immanuel Kant’s birth, efforts are underway to digitally reconstruct the long-lost historical landscape of Königsberg, the birthplace of the ‘Prussian sage’. This article aims to recreate the architectural appearance of Altstädtischer Markt — the market street in the Old Town (Altstadt), one of the city’s districts. Three-dimensional models of the 18th-century public and residential buildings were constructed using surviving images of the market street-square alongside photographs, literature and research works, local history evidence, individu

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VANINA, EUGENIA. "Monuments to Enemies? ‘Rajput’ Statues in Mughal Capitals." Journal of the Royal Asiatic Society 29, no. 4 (2019): 683–704. http://dx.doi.org/10.1017/s1356186319000415.

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AbstractVarious descriptions of the two Mughal capitals, Agra and Delhi, mention the gates of both royal forts as decorated with the statues of two warriors mounted on elephants. The list of those who had described these sculptures and reconstructed their history includes late-medieval Indian writers, European travellers to the Mughal empire, scholars from the nineteenth century onwards, authors of tourist guides; there is a popular oral narrative on them as well. The most widely spread version attributes the statues to the Rajput warriors who defended Chittor against the Mughal invasion and w

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Flynn, Eleanor. "Visualizing death and burial: past and present." International Psychogeriatrics 26, no. 5 (2013): 709–13. http://dx.doi.org/10.1017/s1041610213001622.

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The image used to illustrate this editorial comes from a late medievalBook of Hoursand shows some of the rituals related to death and burial at the time (Figure 1). For the Christian people of medieval Western Europe death was not only a common occurrence, but also one that was illustrated in many places in their lives. In their churches they would see sculptures of the Last Judgment above the front doors, a Dance of Death inside the back door, and along the walls funerary monuments. Above them were stained glass windows as well as altarpieces that might show the Death of the Virgin or other s

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Dziki, Agnieszka. "Three crucifixes in the Amerbach Cabinet and the incomplete small-scale sculptures around the year 1500." Quart, no. 3(57) (September 1, 2020): 46–59. https://doi.org/10.19195/quart.2020.3.78058.

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The aim of this article is to present the case study of the three crucifixes in the Amerbach Cabinet in Basel in the context of a wider scope of intentional incompleteness around the year 1500. I would like to challenge the view that this particular group and a wide variety of other small scale sculptures were only an unsuccessful experiment and eventually to recognize the intentional blurring of the boundary between finished and unfinished as an artistic category in specific time and space. Those seemingly unfinished products have so far been incorporated into other classes, which were valida

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Widrich, Mechtild. "The Willed and the Unwilled Monument." Journal of the Society of Architectural Historians 72, no. 3 (2013): 382–98. http://dx.doi.org/10.1525/jsah.2013.72.3.382.

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The Willed and the Unwilled Monument: Judenplatz Vienna and Riegl’s Denkmalpflege takes a new approach to the competition for the Monument and Memorial for the Jewish Victims of the Nazi Regime in Austria. Noting the complication of the case by the discovery of medieval archaeological remains on Vienna’s Judenplatz, and the ambivalence of the jury in choosing a sculptural project that made no reference to these remains, Mechtild Widrich turns to a lucid source of thinking about memory and public building, Alois Riegl’s essay on the monument cult (Denkmalkultus) and the newspaper articles and g

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Wu, Qing, Tiziana Lombardo, Vera Hubert, et al. "New insights into Zwischgold application from a multi-analytical survey of late medieval polychrome sculptures at the Swiss National Museum." Microchemical Journal 156 (July 2020): 104810. http://dx.doi.org/10.1016/j.microc.2020.104810.

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Classen, Albrecht. "Marian Devotion in the Late Middle Ages: Image and Performance, ed. Andrea-Bianka Znorovszky and Gerhard Jaritz. Studies in Medieval History and Culture. London and New York: Routledge, 2022, ix, 209 pp., b/w ill." Mediaevistik 35, no. 1 (2022): 359–60. http://dx.doi.org/10.3726/med.2022.01.47.

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Abstract One of the central aspect of religious life in the European Middle Ages was the veneration of the Virgin Mary. We find countless examples of sculptures, churches, paintings, poems, and other objects, including musical compositions and also forms of dance reflecting this profound worship of the Mother of God. Research has addressed this accordingly already in a flood of relevant studies, and here we face yet another collective effort to probe this issue more deeply or in greater detail, especially examining important cases in eastern and central Europe during the late Middle Ages and

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Malyshev, Aleksey, and Aleksey Rakushin. "Pre-Mongolian Medieval Nomadic Monuments from the Saratov Region." Nizhnevolzhskiy Arheologicheskiy Vestnik 23, no. 3 (2024): 79–129. http://dx.doi.org/10.15688/902.2(470.44).

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The purpose of the article is to compile an up-to-date summary of the medieval nomad monuments dating back to the pre-Mongol period on the territory of the Saratov region. The following tasks are solved: cultural and chronological attribution of the complexes; their mapping; generalization and analysis of the data obtained in the context of the history of the Eastern European nomads. Various methods were used in the work: diachronic (periodization of the nomads existence in the studied territory), historical-systemic (study of nomadic society as a system) and historical-comparative (identifica

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