Relevant bibliographies by topics / Medieval Painting

Contents

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

Academic literature on the topic 'Medieval Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Medieval Painting"

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Mahobia, Usha. "COLOR COMBINATION IN MUGHAL PAINTING." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3667.

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The history of Indian painting has been very rich and detailed since ancient times. Prior to Muslim aggression, Jain, Buddhist and Hindus donated their yoga in the field of painting. Ajanta painting is famous in the world, and these paintings were made in the Gupta period on which naturally made colors have been used.Significant changes took place in painting in the medieval period, Iranian influence is seen in the painting of the Sultanate period. Vibrant colors were used in paintings of courtly paintings, veena, sitar, dress, ornaments etc. With which the pictures appear to be lively, lively. And blue, green, and golden colors have been used beautifully in these paintings. प्राचीन समय से ही भारतीय चित्रकला का इतिहास बहुत समृद्ध विषाल एवं विस्तृत रहा है। मुस्लिम आक्र्रमण से पूर्व जैन, बौद्ध एवं हिन्दुओ ने चित्रकला के क्षंेत्र में अपना योग दान दिया। अजंता चित्रकला विष्व में प्रसिद्ध है, और इन चित्रो का निर्माण गुप्त काल मेे हुआ जिन पर प्राकृतिक रूप से बने रंगो का प्रयोग किया गया है।मध्यकाल मे चित्रकला मै महात्वपूर्ण परिवर्तन आये, सल्तनत काल की चित्रकला मै ईरानी प्रभाव देखने को मिलता है। दरबारी चित्र, वीणा, सितार, वेषभूषा, आभूषण आदि के चित्रो में सजीव रंगो का प्रयोग किया गया । जिनसे चित्र सजीव, जीवंत प्रतीत होते हैै। और इन चित्रो में नीले, हरे, और सुनहरे रंगो का प्रयोग बंेहद खूबसूरती से किया गया है।
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Storey, H. Wayne. "Painting (and Writing) over Dante." Romanic Review 112, no. 1 (May 1, 2021): 158–80. http://dx.doi.org/10.1215/00358118-8901851.

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Abstract With the advent of studies in the area of mise-en-page and the increased interest in the relationships among text, image, and material structures in medieval manuscripts, the inherent problems of interpretation and “intentionality” have often been concentrated in critics’ assignment of meaning and cultural “readings” to medieval illuminators. Yet numerous sources, especially the instructions to illuminators that remain still visible in unfinished manuscripts, confirm that methods of work in the illustrating of medieval texts were guided by very different criteria than interpretation. Instead, the material and mechanical realities of reproducing medieval texts, among them Dante’s Commedia, were often subject more to production efficiency, cost effectiveness, taste, and scribal and cultural norms. Examining the instructions to the illuminator of an unfinished copy of a uniquely edited Veneto copy of the Commedia, initially produced in the 1340s (Codex Italicus 1 of the University Library and Archives of Eötvös Loránd University in Budapest), this essay investigates the systems and constructions imposed on the Commedia by a new scribal culture in the reproduction and “visual glossing” of the poem.
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Chmil, L. V., N. V. Khamaiko, O. M. Buhay, V. M. Bilyk, A. V. Shulzhenko, A. O. Sushko, and V. A. Nesterovskyi. "CERAMIC RAW MATERIAL ANALYSIS FROM KYIV POST-MEDIEVAL POTTERY CENTERS." Archaeology and Early History of Ukraine 44, no. 3 (August 28, 2022): 316–30. http://dx.doi.org/10.37445/adiu.2022.03.20.

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According to written and archeological sources, there were 12 pottery-making sites in the nowadays territory of Kyiv. During the last 50 years, seven pottery production sites have been archaeologically discovered (kilns, clay pits, outbuildings, warehouses, semi-finished product stocks, etc.). In general, we have information on at least about 27 pottery kilns and a stock of semi-finished products. All of them can be dated to different times from the turn of the 16th—17th centuries to the middle 19th century. Pottery production sites were rather big, with high-quality production using various decoration and glazing techniques, and a wide selection of products; some of them used underglaze painting. Numerous potsherds, both ready-to-use and semi-finished products, were discovered in the filling of kilns and related structures. Used for ceramic paste clay was exceptionally good, mainly light — from white to yellowish or pinkish colors, but sometimes the examples of darker colors can be met, like reddish or brownish. The red color was used for the decoration of unglazed white ware; white, green, and red colors were applied for underglaze painting ceramics. We have analyzed the chemical composition of 38 samples from five sites with the PIXE and XRD methods. According to the analyses, not all clays are pure kaolinite, some are a mixture of hydromica and kaolinite. Iron can be present in different clays. Components that are present in small amounts are characteristic of clays from the Ukrainian Shield. The presence of phosphorus in pigments is associated with the addition of bone meal. Calcium in those cases, where it is insignificant, is part of the clay, and where there is a lot of it, it is obviously associated with lime plaque on the surface of the watering. Some of the products were decorated with paintings. Red paint was used for it on the unglazed ware and white, green, brown, red — for glazed paintings. These paints were also analyzed. Fragments of ceramics after the first firing are covered with a white engobe, over which the painting is applied, but they do not yet have a covering layer of glaze, which made it possible to determine the composition of dyes without the admixture of glaze. For the painted dishes white kaolin clay was used as an engobe base for painting. Probably red iron clay was used as pigments for painting non-painted ware (erratum). For glaze painting, additional iron oxide was added to brown and black paints — possibly bog ore. The paints with the addition of copper after the first firing have a gray color with a greenish tint, and when re-fired under watering, they acquire a bright green color.
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Mohanu, Dan, Ioana Gomoiu, Ileana Mohanu, and Marin Șeclăman. "Corbii de Piatră. Conclusions of a research." CaieteARA. Arhitectură. Restaurare. Arheologie, no. 3 (2012): 119–33. http://dx.doi.org/10.47950/caieteara.2012.3.12.

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The aim of the research undertaken during 2008-2010 at Corbii de Piatră church in the rock was to provide the scientifi c background needed for an adequate approach of conserving the medieval site, especially the valuable mural painting ensemble. Starting from cross-disciplinary approach of conserving mural paintings inside the rock-hewn church, our project created a researchmonitoring-
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Fras, Eva Marija. "Challenges of Conservation and Restoration of a Medieval Wall Painting in the Church of Saint Leonard in Mala Ligojna and the Question of Its Authorship." Acta Academiae Artium Vilnensis, no. 108 (March 20, 2023): 158–91. http://dx.doi.org/10.37522/aaav.108.2023.154.

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The Church of Saint Leonard is positioned on a hill above a small village called Mala Ligojna in central Slovenia. The Baroque architecture shows elements of medieval origins. Under many secondary whitewashes, fragments of an approximately 500-year-old secco wall painting were discovered. The conservation and restoration project started in the year 2020 by removing the secondary coatings of limewash on the northern wall. During the work process, some challenges regarding the original painting were addressed and possibilities for uncovering and consolidating preserved intonaco and the paint layer were explored. Research on the binder, pigments, and the substrate was executed, which led to the use of a specific consolidation system. During the work process we researched the authorship of the painting. The research included the review of different Gothic stencils, brocade and border patterns, and the system of transferring the drawings and identifying the incisions. The patterns show similarities to some known Gothic wall painters in Slovenia, who inherited their knowledge from the masters of the international Gothic style. By carrying out projects like this, the church’s history is being revealed and the knowledge of the medieval wall paintings in Slovenia is expanding.
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Newman, Richard. "Binders in Paintings." MRS Bulletin 21, no. 12 (December 1996): 24–31. http://dx.doi.org/10.1557/s0883769400032085.

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Many naturally occurring adhesive materials have been used throughout history to bind pigments in paintings. A number of synthetic materials have been added to these during the twentieth century.Availability and tradition can influence the choice of binders made by artists. Probably the most widely used medium throughout history, animal glue, is also the most easily obtained. Glues made from the connective tissues or skins of local animals were major media in ancient Egyptian painting and in Chinese and Japanese painting, as well as in many other cultures throughout world history. In many cases, a variety of natural binders were available, and additional factors influenced the choice of binder by a culture. Different media have highly variable properties that affect how they are used in painting. Among these properties are solubility, the transparency or depth of color that is obtainable with a given pigment, and handling properties–how the paint flows, how quickly it dries, whether it can be applied in very thick and very thin layers, etc. Knowledge of the media utilized in paintings can help us understand the intentions of artists. Medieval European painting can be used as an example.
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Stoia, Adrian. "Images of Chalices in Transylvanian Panel Paintings." Review of Ecumenical Studies Sibiu 6, no. 1 (December 1, 2014): 121–35. http://dx.doi.org/10.2478/ress-2014-0107.

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Abstract The study of the items illustrated on mural and panel painting, in connection with still existing items, can document medieval material culture. The representation of chalices on almost half of such paintings from Transylvania is a proof of its important symbolist value in religious rituals. These representations also certify the high level of the goldsmiths’ art from Transylvania. The present study is intended both as a repertory and an analysis of these sacral objects illustrated in mural and panel paintings.
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Scott, David A. "Pigments of English Medieval Wall Painting." Studies in Conservation 50, no. 1 (January 2005): 77–78. http://dx.doi.org/10.1179/sic.2005.50.1.77.

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Sadan, Ronah. "Processing the Raw." Periskop – Forum for kunsthistorisk debat, no. 30 (November 29, 2023): 150–69. http://dx.doi.org/10.7146/periskop.v2023i30.142015.

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In 1883, a late-medieval wall painting of the Last Judgment was discovered under white-wash in the vault of Sædinge Church in Lolland, Denmark, and then quickly covered up again. The painting depicted, in part, a hell scene deemed too offensive to display. A documentary drawing executed upon the painting’s uncovering contains within it the conflicted reception that this scandalous image received within the aesthetic and devotional context of the nineteenth century. Through this case of an image’s uncovering, documentation, and concealment, this article examines various understandings of negativity: as damnation, as aesthetic insufficiency, as devotional decadence, and finally, as absence.
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Ruta, Nicole, Alistair Burleigh, and Robert Pepperell. "Space and Scale in Medieval Painting Reflects Imagination and Perception." Gestalt Theory 44, no. 1-2 (August 1, 2022): 61–78. http://dx.doi.org/10.2478/gth-2022-0006.

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Abstract Prior to the discovery of linear perspective in the fifteenth century, European artists based their compositions more on imagination than the direct observation of nature. Medieval paintings, therefore, can be thought of as ‘mental projections’ of space rather than optical projections, and were sometimes regarded as ‘primitive’ by historians as they lacked the spatial consistency of later works based on the rules of linear perspective. There are noticeable differences in the way objects are depicted in paintings of the different periods. For example, human figures in pre-linear perspective works often vary greatly in size in ways that are not consistent with the laws of optics. Some art historians have attributed this to ‘hierarchical scaling’ in which larger figures have greater narrative significance. But there are examples of paintings that contradict this explanation. In this paper we will consider an alternative to the hierarchical scaling hypothesis: that medieval artists used relative size to elicit empathy and to reflect the perceptual structure of imagination. This hypothesis was first proposed by the art historian Oskar Wulff, but has largely been dismissed since. We argue that artists of this period, far from being naïve, used sophisticated techniques for directing the attention of the viewer to a particular figure in a painting and encouraging them to ‘see’ the depicted space from that figure’s point of view. We offer some experimental evidence in support of this hypothesis and suggest that the way artists have depicted space in paintings has an important bearing on how we imagine and perceive visual space.
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Dissertations / Theses on the topic "Medieval Painting"

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Howard, Helen Catherine. "The pigments of English medieval wall painting." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369503.

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Reiss, Athene. "The Sunday Christ : Sabbatarianism in English medieval wall painting /." Oxford : Archaeopress, 2000. http://catalogue.bnf.fr/ark:/12148/cb371977705.

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Gill, Miriam Clare. "Late medieval wall painting in England : content and context (c1330-c1530)." Thesis, Courtauld Institute of Art (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246809.

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Kugler, Katrena. "Bridging Heaven and Spain: The Virgin of Mercy from the Late Medieval Period to the Age of Exploration." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13246.

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The Virgin of Mercy is a Marian devotional image type recognizable by its portrayal of Mary protecting the faithful with her cloak. This thesis situates the iconography of painted panels within their historical and cultural context in Spain from the late medieval period to the Age of Exploration. I explain the image's origins and introduce its various versions, focusing on three major frequently commissioned subtypes: the Sponsorship of the Virgin, plague commissions, and the Mercedarian's Virgin of Mercy. I present a case study of one famous version of the type, the Virgin of the Navigators, and focus on the Spaniards and Amerindians beneath the cloak, situating them in relation to the historic debate that called into question the very humanity of the peoples of the Americas. The thesis explores the painting's possible statement the patrons may have been making through the artistic treatment of both groups.
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Martone, Thomas. "The theme of the conversion of Paul in Italian paintings from the early Christian period to the high Renaissance." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/11970051.html.

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Dias, Ana Patricia Cordeiro De. "Painting the Apocalypse in medieval Iberia : the creation and use of the Beatus IIa." Thesis, Durham University, 2019. http://etheses.dur.ac.uk/12986/.

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The present study explores the production, illumination and reception of Beatus of Liébana's Commentarium in Apocalypsin - one of the most celebrated works of early medieval Iberia - within the wider panorama of illustrated Apocalypses from the early and high Middle Ages. It examines in detail the sub-group of Beatus manuscripts known as family IIa, comprising the Morgan, Valladolid, Urgell, Facundus and Silos examples, which, collectively, constitute the most cohesive and iconographically rich group in the whole Beatus corpus. This thesis addresses the complex questions of how the Beatus illuminations were conceptualised both by their artists and users and, ultimately, what the role of the Beatus as an illustrated text was. Through a systematic analysis of the mechanisms through which the textual was translated into the visual - with particular attention placed on scribal and artistic responses to colour and number in Revelation - this investigation aims to demonstrate that the Beatus visual imagery was not simply a literal illustration of the text it accompanies, but that it performs a role akin to the written medium, inviting and sustaining scriptural exegesis and supporting meditation on (and preparation for) the 'last things'. In addition, it examines scribal and artistic working methods and agency, arguing that a degree of freedom in relation to the sacred texts was permissible, and that fidelity to Scripture depended on the individuals and on their proficiency. In considering the results of this investigation in a broader context, and by comparing them to the evidence provided by the Carolingian and Ottonian Apocalypses, this thesis also determines that the Beatus IIa present the most comprehensive and detailed corpus of Apocalypse images of the early Middle Ages, and that the Beatus manuscripts may have fulfilled various roles over the five centuries of their transmission.
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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.
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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Silberstein, Edward. "And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1288378722.

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

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Painters of Christian subjects in the late Middle Ages and early Renaissance developed a complex system of geometry which they used to order the various elements in the image. They did this because they were convinced that the aesthetic dimension of their work resided in the structure of the work. More specifically, the artists of the late Middle Ages and the Renaissance believed that the particular aesthetic experience which geometric compositional structure provides corresponded to Christian mystical experience. Thus a work of art that combined geometric structure, naturalistic style, and Christian imagery could provide an experience analogous to that of Christian revelation. This paper traces the development of this idea from its origin in the Old Testament tradition, its formalization in Greek thought and its full flowering in early Christian painting.
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Silva, Cássia de Castro. "Tramas em movimento: desenhos e pinturas inspirados nos mosaicos geométricos medievais." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-13092016-102451/.

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Este trabalho consiste numa pesquisa pictórica a partir de uma experiência de contemplação de mosaicos geométricos islâmicos medievais. A pesquisa busca fazer um percurso desde o estudo pictórico da urdidura dos mosaicos, mostrando a natureza de seu ritmo e seu movimento até a elaboração e apresentação de um corpo de trabalhos em desenho e pintura que se apropriam deste movimento \"encapsulado\" nos mosaicos, revelando-os.
This work consists in a pictorical research based on the contemplation of Islamic Medieval Geometric Mosaics. The research comprehends the trajectory from the study of Mosaics\' warp, in which are shown their rithm and movement, towards the preparation and presentation of a corpus of works in design and painting that reveals the countless possibilities of moves \"encapsulated\" in the Mosaics.
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Books on the topic "Medieval Painting"

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Heinlen, Michael. Medieval & Renaissance miniature painting. Akron, Ohio: Bruce Ferrini Rare Books, 1989.

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Dodd, Erica Cruikshank. Medieval painting in the Lebanon. Wiesbaden: Reichert, 2004.

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Rio, Aaron Michael. Ink Painting in Medieval Kamakura. [New York, N.Y.?]: [publisher not identified], 2015.

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Chandra, Srivastava Ramesh. Medieval trends in Indian paintings. Varanasi: Indological Book House, 1986.

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Martindale, Andrew. Painting the palace: Studies in the history of medieval secular painting. London: Pindar Press, 1995.

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Cavalcaselle, G. B. (Giovanni Battista), 1820-1897, Jameson Mrs (Anna) 1794-1860, and Jameson Mrs (Anna) 1794-1860, eds. Early Italian painting. New York: Parkstone Press International, 2011.

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Loumyer, G. Les traditions techniques de la peinture médiévale. Genève: Slatkine Reprints, 1998.

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Gavrilović, Zaga. Studies in Byzantine and Serbian medieval art. London: Pindar, 2001.

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Conte, Serena Skerl Del. Antonio Veneziano e Taddeo Gaddi: Nella Toscana della seconda metà del Trecento. Udine: Campanotto, 1995.

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Boskovits, Miklós. The origins of Florentine painting, 1100-1270. Florence: Giunti, 1993.

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Book chapters on the topic "Medieval Painting"

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Barker, Sheila. "Painting the Plague, 1250–1630." In Plague Image and Imagination from Medieval to Modern Times, 37–67. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72304-0_3.

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Anderson, Jaynie. "Gardens of Love in Venetian Painting of the Quattrocento." In Late Medieval and Early Modern Studies, 201–34. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.lmems-eb.3.3532.

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Lichtert, Katrien. "Port Cities and River Harbours: A Peculiar Motif in Antwerp Landscape Painting c. 1490–1530." In Medieval Urban Culture, 183–99. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.seuh-eb.5.114424.

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Barbu, Olimpia Hinamatsuri. "pXRF and FTIR Spectrometry Applied to the Study of Azurite and Smalt in Romanian Medieval Wall Painting." In Conservation and Painting Techniques of Wall Paintings on the Ancient Silk Road, 105–17. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4161-6_6.

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Kenia, Marine. "The Image of the Virgin in the Medieval Painting of Svaneti." In Medieval Svaneti: Objects, Images, and Bodies in Dialogue with Built and Natural Spaces, 100–119. Turnhout: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.136733.

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Margolis, Oren. "The Book Half Open." In Openness in Medieval Europe, 289–310. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-23_15.

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A small, blind-tooled volume sits on a table covered in green baize: one clasp is open, the other is closed; and a slip of paper emerges from it reading Veritas odium parit (truth breeds hatred). This detail occurs in the foreground of a portrait by Hans Holbein of a young man identified as the Cologne patrician Hermann von Wedigh III (Metropolitan Museum of Art, New York). A study of the physical features of the book and of the history of the brief text — actually an ancient and then Erasmian adage — leads to a new interpretation of the painting in the context of humanist friendship. The book is seen to be a multivalent simile for the work of art authored by the artist as well as for the sitter himself, raising questions about the implications for these of a medium that can be opened and closed. The half-open condition of the book is understood to reflect the complementary pressures of openness and closedness, accessibility and intimacy, that characterized the Renaissance republic of letters.
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Davidson, Clifford. "The Coventry Holy Trinity Doom Painting: Anticipating the End-Time." In Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, 1–35. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47476-2_1.

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Milani, Giuliano. "Before the Buongoverno: The Medieval Painting of Brescia’s Broletto as Visual Register." In Zwischen Pragmatik und Performanz, 319–50. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.usml-eb.3.5112.

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Burchuladze, Nana. "Icons from Svaneti in the Context of Byzantine Painting." In Medieval Svaneti: Objects, Images, and Bodies in Dialogue with Built and Natural Spaces, 184–207. Turnhout: Brepols Publishers, 2023. http://dx.doi.org/10.1484/m.convisup-eb.5.136737.

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Davidson, Clifford. "Image, Text, and Devotion in Carthusian Wall Painting, Manuscript Illumination, and Narrative." In Studies in Late Medieval Wall Paintings, Manuscript Illuminations, and Texts, 37–110. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47476-2_2.

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Conference papers on the topic "Medieval Painting"

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MacDonald, Lindsay W. "Visualising a Medieval Wall Painting of St Thomas Becket." In Proceedings of EVA London 2023. BCS Learning & Development, 2023. http://dx.doi.org/10.14236/ewic/eva2023.8.

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FIKRI, Imane. "Wall Paintings from The Roman City of Volubilis in Morocco: XRF, Raman and FTIR-ATR Analyses." In Mediterranean Architectural Heritage. Materials Research Forum LLC, 2024. http://dx.doi.org/10.21741/9781644903117-17.

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Abstract The work is an in-depth investigation of painting remains from the roman city of Volubilis in Morocco, classified World Heritage. Raman and ATR-FTIR structural and XRF elemental spectroscopies were crossed to decrypt the pigments adopted by roman craftsmen in the south Mediterranean region. Red-ochre alone or in admixture with cinnabar was used in brown-red paintings, while yellow ochre, green earth and Egyptian blue pigments were used to achieve yellow, green and blue ones. All pigments highlighted had been commonly used in the roman world, among which some ones continue until the medieval period in Morocco. In addition to documenting built heritage in Morocco, the results provide a helpful background for archaeologists interested in Roman sites around the Mediterranean space.
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Aleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

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Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
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Gavrilović, Anđela. "CONTRIBUTION TO THE STUDY OF THE SCENE OF BAPTISM OF CHRIST IN SERBIAN MEDIEVAL ART WITH SPECIAL INTEREST IN THE CHURCH OF SAINT NIKITA NEAR SKOPLJE (AROUND 1324; 1484)." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.733g.

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The subject of this paper is the motif of the stone slab (cheirograph) in the scene of Baptism in Serbian medieval monumental painting and on icons on which Christ stands and under which he suppresses serpent-like monsters: its iconography, literary sources and meaning (ill. 5). The article represents the first study of the issue of cheirograph in Baptism scenes in Serbian medieval art from its beginning until the end of the art done in the Byzantine tradition (1800). It provides the survey of the chosen examples of this motif and explains the nuances in the meaning of both the Baptism scene itself and its relation to the painted decorations of each monument (ill. 1–4, 6–9). Special attention is given to the motif of the stone slab in the church of Saint Nikita in Skoplje, the foundation of king Milutin (built: 1299/1300 –1308; decorated with frescoes: around 1324; 1484; 1846).
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Yandim Aydin, Sercan. "„RENAISSANCE“ BEFORE THE RENAISSANCE: HUMANLY ASPECTS OF LATE BYZANTINE PAINTING. CASE: “THE ANASTASIS: AN IMAGE OF LIBERATION AND RESURRECTION”, STUDENICA MONASTERY." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.629ya.

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Present paper aims to readdress the idealized Renaissance con- ception of painting starting with the writings of Giorgio Vasari, which paved the way to a widely stereotyped and prejudiced evaluation of the Byzantine art within the general art historical framework. Consequently, placing the latter one inferior to the Renaissance. Further the paper attempts to revise the conventional assumptions about Byzantine painting. Visual interpre- tation of a dodecaorton subject, Anastasis Christi, is taken to provide evi- dence in understanding the humanly aspects in terms of iconography and reception of the scene. Material evidence is obtained from the monumental panting of the Studenica monastery, (ca. 1313-ca. 1320). General outline of its iconography, communal versus individual resurrec- tion, and specific depiction of one of the basic elements of iconography, Hades, reveal the fact that there is difference in the mind sets of Eastern and Western Christianity. Libri Carolini in the eighth century signifies the different visual understanding and reception. Also, the text-image relation is greatly influenced by the involvement of either theologians of a col- lective monasticism or individual aristocratic prayer. Thanks to the recent scholarly studies on cultural history and art history, a wider perspective is possible in order to comprehend the content of their cultural memories that comes into play in interpreting and reflecting religious subjects/imageries. As a result, artists and patrons of medieval Serbia were able to not just to inherit but also improve the inherited Byzantine artistic language in a com- plex positive way. Altogether referring to a renaissance in their rethinking and execution of the Byzantine models and beyond.
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Д.В., Абрамов,, Данилов, О.В., and Хорьков, К.С. "TURKISH CERAMICS OF THE XVI-XVII CENTURIES FROM EXCAVATIONS IN MUROM: RAMAN ANALYSIS OF GLAZES AND PIGMENTS." In Археология Владимиро-Суздальской земли. Crossref, 2021. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-365-7.162-173.

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В статье представлены результаты рамановского анализа химического и структурного состава фрагментов импортного глазурованного кувшина из раскопок в Муроме. Исследованы кроющая глазурь и пигменты, использованные при его росписи. Полученные результаты позволяют объективно определить место и время изготовления находок (Изник, Турция, XVI в.). Выявлены характерные особенности такой керамики, которые могут позволить атрибутировать находки ее фрагментов на основе материалов, использованных в красках: уваровита в оливково-зеленом линейном орнаменте, силиката кобальта со структурой оливина в синем фоне, окрашенного карбонатом меди стекла (smalt) в бирюзовых элементах росписи, аморфного углерода и хромита железа со структурой шпинели в черных линиях. Белый ангоб содержит переходные структуры, образовавшиеся при обжиге керамики. Их наличие позволяет оценить температурный режим обработки изделий в средневековых мастерских Изника. The article presents the results of Raman analysis of the chemical and structural composition of fragments of an imported glazed jug from excavations in Murom. The covering glaze and pigments that were used in its painting have been investigated. The obtained results make it possible to objectively determine the place and time of making the finds (Iznik, Turkey, 16th century). The revealed characteristic features of such ceramics can help to attribute the finds of its fragments based on the materials used in the paints. There are uvarovite in olive green linear ornament, cobalt silicate with olivine structure in a blue background, smalt colored with copper carbonate in turquoise elements of painting, amorphous carbon and iron chromite with a spinel structure in black lines. White engobe contains transitional structures formed during ceramic firing. Their presence makes it possible to estimate the temperature conditions of a products processing in Iznik’s medieval workshops.
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Beuk, Bojana. "DOKUMENTARNI FILM KAO IZVOR OČUVANjA KULTURNE BAŠTINE: ZADUŽBINE KRALjA MILUTINA U PRODUKCIJSKOJ DELATNOSTI RADIO TELEVIZIJE SRBIJE." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.849b.

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The development line of documentary film is defined by the need to present reality in the form of video material, and as such it is a document whose content can be understood as a separate museological form of preserving cultural heritage and the principle of archiving film memory in general.Since its founding, Radio Television of Serbia, as the first national television frequency, has recorded an enviable production activity, the repository of which includes documentary recordings of educational character, of cultural-artistic, educational and historical significance, thus promoting cultural heritage and historical events as well as contemporary art and culture.The subject of this paper follows the decades-long production of documented series dedicated to Serbian medieval art, shows about King Milutin's endowments that testify not only to the cultural and historical circumstances of the Middle Ages, the current state of certain cultural monuments, but also to theoretical reflections of history and art connoisseurs.We would direct a special scientific review towards architectural sacral buildings and fresco painting as a kind of monuments of cultural-historical and stylistic-artistic value of the Palaeologus dynasty.Therefore, we can say that the documentary film as a separate form of media reception of heritage and artistic artifact in audio-visual format shows and preserves, in this case study, the cultural heritage of King Milutin.
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Pajić, Sanja, and Roza G. Damiko. "UMETNIČKO – ISTORIJSKE VEZE KRAJEM 13. I POČETKOM 14. VEKA: ZAJEDNIČKE TEME U SRPSKOJ I ITALIJANSKOJ UMETNOSTI." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.581p.

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The paper considers the relations between art created on the territory of the Serbian medieval state and Italian painting from the end of the 13th and the first two decades of the 14th century in the context of contemporary historical events, as well as political and family ties between the Angevin, Nemanjić and Árpád dynasties. Representations of standardized forms of rare iconographic solutions appear in the monumental painting in the endowments of King Milutin (1282–1321), spread predominantly in the art at the territory of Serbia and Macedonia. The monumental Mother of God Pelagonitissa was shown in the church of the mon- astery in Staro Nagoričino, as well as Christ’s Ascent of the Cross in its trium- phant version, while the same scene, a different iconographic scheme empha- sizing the strong emotional charge, is preserved in the church of St. Nikita in Čučer. Moreover, a fairly unknown motif of the Mother of God kissing the Son in the cradle-sarcophagus was painted on the scene of the Birth of Christ in the Sts. Joachim and Anna Church (King's Church) in Studenica. Variations of these themes appeared in Italy in the same period, most often on small-size panels. These works, intended primarily for the Franciscans, were created in the centres where this monastic order maintained strong connections with the Guelfs, the Angevin dynasty and the popes. Thus, the interpretations of the Mother of God Pelagonitissa are found primarily in Romagna and Rimini, where Giovanni da Rimini presented this theme as the central part of the triptych, on whose side wing there was, among others, the scene of the Birth of Christ with the motif of the Mother kissing the Child. The triumphant version of Christ's ascent to the cross was painted in Tuscany and Siena, while the variation seen in the fresco in Santa Maria Donnaregina Vecchia in Naples is close to the fresco from Čučer. The significant role of the political and cultural mediator of the Serbian state was confirmed in the time of Milutin and his mother Jelena, whose relations with Angevins and Franciscans, widely present in the Balkans, are well known, simultaneously being in close contacts with popes, starting with Franciscan Pope Nicholas IV.
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Cecamore, Stefano. "Traces of a fortified hamlet. Iconography and urban development of San Valentino in Abruzzo Citeriore." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11390.

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The paper proposes a reading of the possible urban development of the historic centre of San Valentino in Abruzzo Citerore starting from the analysis of its architectural heritage. The image of a fortified hamlet surrounded by walls, represented in a painting dating back to the mid-nineteenth century, appears in cartographic reliefs and representations accessible at the local and extra regional archives. The reading of the current architectural set of givens, which are characterized by the continuous use of building techniques related to the processing of local limestones, seeks through comparison with the historic iconography to identify persistences and alterations of the urban fabric, tracing a possible developmental line of San Valentino in Abruzzo Citeriore from medieval castrum to Farnesiano fief up to the substantial interventions of modernization and revision of the historic center operated in the last century. The requests of functional and formal changes occurring at the turn of the nineteenth and twenteeth century implicates the dismantling of the walls, the typological change of the original building and of the urban layout and the loss of the urban imagine resulting consolidated in the collective memory. An awaking context of the main features of the historic and building development of this fortified reality in the Middle Adriatic area is today an indispensable step in this path of consciousness and awareness of the society regarding the urgent problem connected to the neglect and to the conservation of the historic centres.
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Dandolo, Corinna L. K., and Peter Uhd Jepsen. "THz reflectometric imaging of medieval wall paintings." In 2013 38th International Conference on Infrared, Millimeter, and Terahertz Waves (IRMMW-THz 2013). IEEE, 2013. http://dx.doi.org/10.1109/irmmw-thz.2013.6665839.

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