The wall paintings in the Crusader church in Abu Gosh were conserved and restored in two different operations in the last thirty years. While the conservation revealed new iconographies of the original wall paintings, the restoration added and changed details. The discernment between the two allows us once again to discuss the meaning of the original Crusader decoration program as a whole. This article argues that the frescoes decorating the church reference a set of prominent sacred places in the Holy (...) Land, and suggests an interpretation of the murals in regard to the holy place to which it is linked and to the edifice it adorns. (shrink)

This last part of the study of materials and techniques used in Minoan wall-painting discusses the execution of the actual decoration itself. After a brief reminder of our knowledge of the status of the artist and his principal tools, the main stages of the process of execution are described. It thus appears that the number and connection of these différent phases, as well as the painting techniques themselves, depend on the nature of medium used: chalk or cernent. For (...) the identification of the latter, the author proposes a new method, combining macro- and microscopic observations, and using physico-chemical characterisation analyses. (shrink)

Stoicism was one of the new philosophical movements of the Hellenistic period. The name derives from the porch (stoa poikilê) in the Agora at Athens decorated with mural paintings, where the members of the school congregated, and their lectures were held. Unlike ‘epicurean,’ the sense of the English adjective ‘stoical’ is not utterly misleading with regard to its philosophical origins. The Stoics did, in fact, hold that emotions like fear or envy (or impassioned sexual attachments, or passionate love of (...) anything whatsoever) either were, or arose from, false judgements and that the sage—a person who had attained moral and intellectual perfection—would not undergo them. The later Stoics of Roman Imperial times, Seneca and Epictetus, emphasise the doctrines (already central to the early Stoics' teachings) that the sage is utterly immune to misfortune and that virtue is sufficient for happiness. Our phrase ‘stoic calm’ perhaps encapsulates the general drift of these claims. It does not, however, hint at the even more radical ethical views which the Stoics defended, e.g. that only the sage is free while all others are slaves, or that all those who are morally vicious are equally so. Though it seems clear that some Stoics took a kind of perverse joy in advocating views which seem so at odds with common sense, they did not do so simply to shock. Stoic ethics achieves a certain plausibility within the context of their physical theory and psychology, and within the framework of Greek ethical theory as that was handed down to them from Plato and Aristotle. It seems that they were well aware of the mutually interdependent nature of their philosophical views, likening philosophy itself to a living animal in which logic is bones and sinews; ethics and physics, the flesh and the soul respectively (another version reverses this assignment, making ethics the.. (shrink)

The lavra of Ot’kht’a Eklesia and its twin monastery at Parkhali are located in an isolated, mountainous area of present-day north-east Turkey, which, in the ninth-tenth century, gradually emerged as the politically de facto independent kingdom of Tao-Klarjet’i and as a stronghold of Georgian culture. Both lavras were established on the steep slopes of valleys carved by the tributaries of the Çoruh (Č’orox’i) river by Georgian monks seeking for those “deserts” that, in their opinion, God had reserved to them since (...) the Creation of the world. Thanks to the support of David iii the Curopalates, the churches of Ot’kht’a and Parkhali erected in monumental dimensions and lavishly decorated with a complex, almost identical program of mural paintings in the apses. The present paper aims to show to what extent images could reflect the monastic view of their relationship with the natural world in terms of Biblical allegorism. In particular, it lays emphasis on the multi-layered symbolism associated with the “Holy Zion” - notion and the different ritual, performative, and visual strategies whereby site-bound holiness came to be materially evoked. (shrink)

One of the most extensive ensembles of twelfth-century mural painting still extant in France has recently been reconstituted in the Church of Saint-Silvain at Chalivoy-Milon , a small village located about forty kilometers southwest of Bourges. During the late 1970s and 1980s, conservation work carried out under the auspices of Monuments Historiques recovered the entire chevet program , a portion of which was first discovered in February 1868. The stunning exposure of a complex, predominantly Christological cycle at Chalivoy-Milon (...) sparked my interest in nineteenth-century reports of painted decoration once visible in the nave. That lost painting is the focus of the present study. (shrink)

The conversion of the Nubian Kingdoms, by the missions sent from Constantinople in the sixth century, was followed by Byzantine influence on Nubian art. One of the most obvious examples of this process was representing archangels dressed in loroi. This paper aims to present the evolution of loroi in Nubian art. In Byzantium, they were ceremonial stoles worn on special occasions by the emperors or the highest dignitaries. The archangels were also clad in loroi, acting as high officials at (...) the celestial court. Interestingly, loroi were adopted only for the images of archangels in Nubia, not for the images of Nubian kings. At the end of the 10th century, the lower end of the loroi was expanded to a broader segment resembling the Byzantine thorakion, typical of female images. This could have added splendor to their garments, but could it have also highlighted the vague gender of the archangels? (shrink)

Existem perto de 140 monumentos portugueses que ainda conservam pintura mural realizada entre os finais do século XV e os meados do século XVI. Por vicissitudes históricas diversas, a distribuição destes monumentos pelo território nacional é muito desigual, verificando-se uma concentração em templos rurais situados sobretudo no território de Entre-Douro-e- -Minho (c. 30%), em Trás-os-Montes (c. 25%) e na Beira Interior (c. 20%).A análise da iconografia destas pinturas permite tirar várias conclusões a respeito das principais devoções da época. Verifica-se (...) que São Sebastião era o santo mais representado, seguido por Santo António (de Pádua), Santa Catarina, São Pedro, São Miguel, São João Baptista e São Tiago, ao mesmo tempo que apenas a Anunciação e o Calvário têm uma representatividade equiparável à dos santos mencionados. Também é possível concluir que a preferência pelos santos referidos não estava dependente da invocação dos templos. Conclui-se, igualmente, que existe uma nítida diferenciação entre as imagens sacras representadas na zona dos templos cujo cuidado pertencia aos fregueses, a nave, e a zona sob a responsabilidade dos padroeiros, a cabeceira. Nesta comunicação pretende-se explicar quais os motivos que justificam a preeminência da representação de determinadas figuras do hagiológio cristão durante o período em causa, bem como a ausência de outras cuja presença seria expectável. Pretende-se explicar também as razões que ditam a diferenciação entre a iconografia das cabeceiras e a iconografia das paredes da nave. A análise conjugada destes dados permite trazer alguma luz sobre os motivos que justificam as principais devoções dos portugueses da época, sobretudo os que viviam em ambientes rurais. (shrink)

De nouveaux thèmes théologiques apparaissent dans le décor des églises byzantines vers le milieu du 11e siècle. Ils sont nés d'un programme spécifique probablement lié au schisme de 1054. L'A. étudie les thèmes liturgiques centraux de l'Eglise orthodoxe de cette époque en prêtant une attention particulière au symbolisme des thèmes et à la date de leur émergence au sein du décor de l'église comme par exemple la communion des apôtres, les évêques officiant, le Christ comme Grand Prêtre consacrant l'Eglise ou (...) encore le Christ Prêtre. Ce programme iconographique a déterminé pour des siècles la structure et le contenu du décor de l'Eglise byzantine. Il ne s'agissait pas simplement d'illustrer des sujets polémiques mais de tenter de créer une nouvelle imagerie reflétant une nouvelle conscience de l'Eglise orthodoxe séparée de l'Occident latin. (shrink)

Except for scholarly works dealing with well-defined problems, writings on Byzantine art rarely fail to arouse in the reader some disquiet, some perplexity, regarding the aggregate of this art—its distinctive characteristics and essential values. The following remarks, confined to painting, are designed solely to clarify the foregoing statement, to indicate why it is justifiable, and to retrace, if possible, the genesis of such a state of affairs.

Glazed pottery from Nauplion and Argos (AD 12th-13th centuries): preliminary observations The regions of Argos and Nauplion were indissolubly connected in the Byzantine period and afterwards. This study attempts to examine, through the study of the glazed wares, whether the close ties between the two cities during the 12th and 13th centuries are also reflected in the pottery. Many categories of glazed wares (pottery with incised decoration, "Measles Ware", "Zeuxippus Ware", slip-painted ware, Brown and Green painted Ware, Glaze Painted (...) Ware, "Proto-Maiolica", Italian polychrome ware of the RMR type, "Archaic Maiolica") are presented, comparing the evidence of Argos and Akronauplia. These comparisons lead to comments indicating that whereas, during the 12th century, the two sites had contacts with other regions of the Peloponnese and the eastern Mediterranean, due to historical changes during the 13th century there developped the importation of pottery from various regions of Italy. (shrink)

Ioannis Spatharakis has produced a book about the iconography of seventy-three painted churches of Crete. Given the lack of an exhaustive photographic publication of the Byzantine wall paintings of the island and the relatively few monographs on individual churches, in the past forty years scholars have attempted to compile synthetic works with mixed results. Three other volumes have dealt with Cretan frescoes prior to Spatharakis's book reviewed here: K. D. Kalokyris, The Byzantine Wall Paintings of Crete (New York, (...) 1973); Manfred Bissinger, Kreta. Byzantinische Wandmalerei. Münchener Arbeiten zur Kunstgeschichte und Archäologie 4 (Munich, 1996); and to a lesser degree Klaus Gallas, Klaus Wessel, and Manolis Borboudakis, Byzantinisches Kreta. Studium und Reise. (Munich, 1983) which is a learned, comprehensive travel guide. (shrink)

The present contribution engages with two representative examples of middle-Byzantine ekphraseis, Photios’ description of the Virgin of the Pharos and Leo VI’s account of the church founded by Stylianos Zautzes. It aims at showing how these texts suggest modes of viewing the sacred space and decoration that pose, more than settle, questions about images and pictures, their intended function, significance and impact within their specific cultural frames of reference. Far from being neutral and disengaged, these verbal representations have a (...) specific agenda, which inflects the audience’s perception and interpretation of the decorated church space. Comparisons with coeval monumental evidence are also offered, in order to analyze textual and visual developments in parallel. (shrink)

Cretan icons often displayed a precious decoration of golden halos with incised, stippled, and/or impressed designs. The present study points out that these motifs should not be interpreted as manifestations of nostalgic and anachronistic attitudes on the part of post-Byzantine painters working in Candia for Greek Orthodox and Catholic clients. Rather, they appear already in several early Cretan works dating around 1400, which took inspiration from technical devices and ornamental motifs worked out in the workshops of Venice during the (...) second half of the fourteenth century and appropriated in icon painting probably through the mediation of mixed-style works produced in both the lagoon region and Venetian-ruled Candia. (shrink)

Fragments of painted plaster found in the destruction layer of three first floor rooms in the House of Seals and of one first floor room of the House of the Sword had broken from the ceiling. They allow the restoration of the schema in the room of the House of the Sword and of two of the rooms in the House of Seals, the latter in colour. Composed of bands surrounding a quadrangular field, these décorations, evoking carpets stretched on the (...) ceiling, are richer (costly pigments, gold leaf) and more complex (some fifteen motifs) than those in tombs of the same period, which adopted the same « carpet » composition and which borrowed from the same repertoire, often confirmed by the textiles. Since we know of no other ceiling decoration in habitation rooms, it is unwise to contrast the exuberance of these ceilings with the tomb ceilings. The room that could not be restored had moreover a much more perfunctory decoration. (shrink)

In 1233 a certain R. Joseph bar Moses of Würzburg commissioned an illuminated copy of Rashi's Bible commentary, now in Munich. After the text was finished, the task of illuminating was put into the hands of a Christian painter, apparently a man named Heinrich, who kept a lay workshop in Würzburg . Three years later a giant Bible, now in Milan, was commissioned perhaps by the same patron, but not necessarily in the same city . It, too, was illuminated; this (...) time, however, it cannot be excluded that the paintings were made by Jewish artists. Both manuscripts are richly decorated with narrative scenes involving human figures. In the following decades it became more and more customary for wealthy Jews of Germany and northern France to have their Bibles, prayer books, and other texts adorned with figural miniatures. Yet there is no evidence that during the Middle Ages human figures were painted in any form in a Jewish context before the 1230s. A few textual references from the twelfth century indicate wall paintings and stained-glass windows in synagogues with images of animals and dragons, but none have survived. Some decades after the first illuminated books made their appearance, the most outstanding authority on religious law of his time, R. Meir ben Barukh of Rothenburg , was asked his opinion of this phenomenon. R. Meir was worried, as his reply shows, but not for reasons of religious law; his concern was that images in painted books would distract believers from their pious concentration during prayer. (shrink)

This dissertation investigates how art, truth, and politics are tightly integrated in Raphael's historical narratives in the Stanza d'Eliodoro. ;The first chapter argues for the importance of paying careful attention to pictorial structure--that close analysis of painting can make a strong contribution to the social history of art. The second chapter begins this interpretive path. It first describes the room's decorative ensemble as a whole and how the histories are located within its complex figurative scheme. Then, drawing upon Martin (...) Heidegger's analysis of postmedieval processes of Vorstellung, it defines the pictorial narratives themselves as representations and concludes that as pictorial representations these narratives appear unable to ground the truth of sacred history. ;Chapter 3 focuses on the Expulsion of Heliodorus, a mural replete with self-referential models of both its own mode of authorship and mode of reception. These self-referential cues help define what it means for the Heliodorus to be not only a pictorial representation but more extensively a work of art. It is Raphael's art of representation that shows forth and validates the metaphysical truth of papal history. ;The latter part of Chapter 3 and all of Chapter 4 offer readings of the Heliodorus as well as the three other histories--the Liberation of St. Peter, Mass at Bolsena, and Repulse of Attila--construing them as theologico-political narratives of the divinity of papal power. All four histories express at the level of narrative form the dilemma of the papacy's contemporary political trajectory only for this predicament to find imaginative "resolution" through the movement of the narrative action. This chapter expounds upon the configurations of historical time in the decorative scheme and how this projects the political unconscious of papal desire. Yet the fifth and final chapter concludes that the Eliodoro narratives are not simply collective wishfulfillments but more properly public symbols that rhetorically address a beholder so to persuade him to accept as true the papacy's desired self-image of its own historical mission. Raphael's art of representation was essential towards this end. (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

The main novelty my article brings concerns a particular iconographic motif: that known as the ‘trial by the water of reproach’. In the few cases where this is rendered, usually only Mary is presented as undergoing this test, but in Cappadocian art Joseph is also subjected to it. Additionally, to this visual topic, another one that is rarely depicted will be introduced and commented upon: that known as ‘Christ’s first bath’. I will provide a particular example: the fresco which constitutes (...) part of the decoration that embellishes the walls of Karabaş Kilise/ ‘The Big Church’ in Soğanlı Valley, southern Cappadocia. A few images – one of them never published before – have been included within this publication. (shrink)

The aim of the following paper is to show that it is not possible to penetrate into the depths of Nikolay Raynov's universe and to comprehend its wholeness, without posing and investigating the question about the origin or the foundation of his various creative occupations, i.e his novels, philosophic and theosophic writings, art history and critique, paintings, decorative design etc. This question is far too complex to be answered briefly without being simplified, and therefore two main directions will be articulated: (...) the recption of Orphism developed in Plotinus' and Porphyry's Neoplatonism – which is the basis of modern Theosophy –, and the synthetic understanding of art, which puts Raynov's views in close proximity to Wassily Kandinsky and Nicholas Roerich. (shrink)

This study delves into the porcelain calligraphy and painting of the Ming and Qing dynasties, aiming to uncover the spiritual and cultural narratives encapsulated in these artistic expressions. During these eras, marked by the zenith of Chinese porcelain artistry, the incorporation of religious motifs was not merely decorative but a profound reflection of the prevailing religious beliefs, cultural norms, and aesthetic inclinations of the time. This paper conducts a deep analysis of the religious elements manifested in Ming and Qing (...) dynasty porcelain artworks, exploring how these elements articulate religious devotion, mirror cultural practices, and influence artistic transformations. Through detailed appreciation and interpretation of three exemplary cases—Yongle blue and white entwined flowers, Jiajing blue and white road Fu Yunhe large plate, and a blue and white seawater river cliff pattern three-legged furnace—this study reveals how these works serve as conduits for spiritual reflection and cultural transmission. Each piece not only embodies the religious and philosophical zeitgeist of its era but also highlights the dynamic interplay between art and societal evolution, thus underscoring the multifaceted roles ancient religious art plays in perpetuating cultural heritage, enchanting viewers with its artistic allure, and reflecting broader social transformations. (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the (...) death of the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

Painted ceramics occupy an important place in ancient Chinese art and are the result of creative activity of people of primitive society. A large number of Neolithic patterns on ceramics are similar to those signs and symbols that were made on jade products of the same period. Such patterns resembled drawings made by hand and represented realistic and abstract ornaments, plant, zoomorphic patterns, etc. Thus, the subject of this study is the so-called "jade" patterns on painted ceramics of the Neolithic (...) era. The object of the study are objects of painted ceramics of the Neolithic era in China. Special attention is paid to the consideration of the specifics of ceramic products, as well as the features of their decors. The semantics of images on objects of Chinese painted ceramics is complex and ambiguous. The study revealed that it is associated with the development of human thinking, people's understanding of natural phenomena, awareness of the changing seasons, as well as the emergence of animism and totemic culture. These patterns had different interpretations, while they were not only a way of expressing the feelings and experiences of primitive people, but also a way for them to record important events from life, similar to modern memoirs. Thus, the novelty of this article is its comparative nature, manifested in the comparison of ornaments of painted ceramics and ancient Chinese jade products. (shrink)

The iconography of the Communion of the Apostles, a theme well established in Byzantine art after Iconoclasm, first appears in a securely dated context in the silver patens from Riha and Stuma. These silver plates were produced in Constantinople sometime between 575 and 578. The iconography with the twofold depiction of Christ is usually explained as a reflection of the liturgical practice of the Eucharist, namely, as a reflection of the two actors in the Eucharistic rite, the priest and (...) a deacon distributing bread and wine. I argue instead that during the early Byzantine period the twofold depiction of Christ is an expression of the two natures of Christ directed against the Miaphysites. I propose that the exceptional appearance of the scene in the two early Byzantine silver patens from church treasures from northern Syria is likely to be explained by its Christological significance with regard to Chalcedonian Eucharistic doctrine during the persecution of the Miaphysites in the 570s. (shrink)

Deleuze’s philosophy of painting can be seen to pose certain challenges to a phenomenological approach to philosophy. While a phenomenological response to Deleuze’s philosophy is clearly needed, I show in this article how an approach taken in a recent paper by Christian Lotz proves inadequate. Lotz argues that through Deleuze’s refusal to accept the place of representation in art, he is unable to distinguish art from decoration, or to give a coherent account of how the content of art can (...) be represented. I show that this criticism emerges from a misreading of the place of representation in Deleuze’s philosophy. I will argue that by failing to take account of some of the key features of Deleuze’s wider ontology, such as the importance of both the virtual and the actual for his analysis of objects, Lotz’s critique proves unsuccessful. In particular, I want to show that Lotz’s criticisms rest on a failure to attend to the systematic nature of Deleuze’s philosophy, and in particular, the place of Deleuze’s analysis of Bacon within the system as a whole. I will further show that Lotz’s phenomenological defence commits the fallacy of petitio principii, assuming the validity of the phenomenological method in order to justify the phenomenological approach. (shrink)

Art historians have long viewed southern Italy, especially the Salento region in Apulia, as a Byzantine artistic province even centuries after Byzantine rule ended there in c. 1070. The Orthodox monastery of Santa Maria di Cerrate, near Lecce, is widely considered to possess some of the region’s “most Byzantine” paintings (twelfth to fourteenth centuries). Yet a close examination of these frescoes reveals significant iconographic and stylistic differences from alleged Byzantine norms. A historiographic synopsis and review of (...) problematic definitions of “Byzantine” art are followed in this article by a critique of reductionist labels. Embracing the concept of vagueness offers an alternative way to think about Cerrate and similar borderline cases—not in terms of fixed categories (“Byzantine” or “Western”), but as points on an art-historical continuum that is enriched by acknowledging complexity. (shrink)

Lucas van Valckenborch’s Winter Landscape hangs in the Kinsthistorisches Museum in Vienna. It was painted four hundred years ago as one of a set of the four seasons. Measured by sales of reproductions, it is one of the most popular paintings in the museum, though it is by no means the most distinguished example of the genre to which it belongs. The picture is a snow scene. In the long series of represented planed that recede from foreground to horizon, fallen (...) snow covers fields and roves. Across the surface of the canvas and scarcely diminishing in scale from bottom to top, touches of white paint represent falling snow. It is not a small painting, and these are not mere feathery indications, but palpable dabs from a loaded brush. To a taste fed on Modernist painting—or, for the pedantic, to a prejudice fuelled by Modernist accounts of painting—it is by virtue of this surprising frankness that the painting achieves more than mere anecdotal charm. It is not the illusion of depth in the picture that holds our sophisticated attention, nor the atmospheric re-creation of a leaden sky, nor do we admit to being engaged by the over-rehearsed animation of the peasants. What gives us pleasurable pause is the strange and distinctive form of skepticism about appearances that is set in play when the allure of imaginative depth meets resistance from the vividness of decorated surface.5 5. Wollheim uses the term ‘twofoldness’ for ‘this strange duality—of seeing the marked surface, and of seeing something in the surface.’ In his account this experience leads to a thematizing of the image, which ‘ushers in representation.’ Translated into his terminology, my suggestion would be that the Winter Landscape can be seen as catering to a Modernistic taste for the thematizing of ‘twofoldness’ itself. Charles Harrison is staff tutor and reader in the history of art at the Open University. He is the author of English Art and Modernism 1900-1939 , and he is now completing a second volume, English Art and Modernism 1940-1985. He is co-author of A Provisional History of Art & Language , and his most recent book—Essays on Art and Language—is due out in 1989. He has been associated with the Art & Language group since 1971 and is editor of the journal Art-Language. (shrink)

Two tapestry medallions from Byzantine Egypt decorated with interlaces are examined here with a view to teasing out the meanings they conveyed to the persons who saw and used them. Originally adorning domestic apparel or furnishings, the textiles now are held in the collections of the Textile Museum in Washington, D.C. and of the Louvre Museum in Paris. The interlaces served either as protective devices meant to obstruct and bind evil spirits through the coils of their knots, or as (...) metaphors for the entanglements of the devil that had to be overcome to attain a good end. Floor mosaics in Cyprus, North Africa, and Jordan – especially those depicting labyrinths, in which the ideas that underlie the designs are more clearly expressed through inscriptions – provide a route to understanding the interlaces depicted in the textiles. (shrink)

This article is the first publication of a lead seal from a private collection that bears the image of the Incredulity of Thomas. Based upon epigraphy and decorative motifs the seal is assigned to the sixth century. It is the only known sphragistic example of the image of the Incredulity of Thomas and its iconography is compared to other contemporary examples in other media, especially objects of pilgrimage art, among which is a sixth-century gold medallion bearing a similar image, also (...) published for the first time. The image of the seal reflects the thought world of contemporary pilgrimage art and homiletical literature that stresses the believer's transformative participation in Thomas' faith in the reality of Christ's saving Resurrection. (shrink)

In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. (...) Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond. (shrink)

In 2008, the Musée des Beaux-Arts de Lyon acquired a painting called The Flight into Egypt which was attributed to the French artist Nicolas Poussin. Thought to have been painted in 1657, the painting had gone missing for more than three centuries. Several versions were rediscovered in the 1980s and one was passed from hand to hand, from a family who had no idea of its value to gallery owners and eventually to the museum. A painting that (...) had been sold as a decorative object in 1986 for around 12,000 euros was acquired two decades later by the Musée des Beaux-Arts de Lyon for 17 million euros. What does this remarkable story tell us about the nature of art and the way that it is valued? How is it that what seemed to be just an ordinary canvas could be transformed into a masterpiece, that a decorative object could become a national treasure? This is a story permeated by social magic the social alchemy that transforms lead into gold, the ordinary into the extraordinary, the profane into the sacred. Focusing on this extraordinary case, Bernard Lahire lays bare the beliefs and social processes that underpin the creation of a masterpiece. Like a detective piecing together the clues in an unsolved mystery he carefully reconstructs the steps that led from the same material object being treated as a copy of insignificant value to being endowed with the status of a highly-prized painting commanding a record-breaking price. He thereby shows that a painting is never just a painting, and is always more than a piece of stretched canvass to which brush strokes of paint have been applied: this object, and the value we attach to it, is also the product of a complex array of social processes – with its distinctive institutions and experts – that lies behind it. And through the history of this painting, Lahire uncovers some of the fundamental structures of our social world. For the social magic that can transform a painting from a simple copy into a masterpiece is similar to the social magic that is present throughout our societies, in economics and politics as much as art and religion, a magic that results from the spell cast by power on those who tacitly recognize its authority. By following the trail of a single work of art, Lahire interrogates the foundations on which our perceptions of value and our belief in institutions rest and exposes the forms of domination which lie hidden behind our admiration of works of art. (shrink)

From the point of view of ceramics, Iznik is famous for its output of pottery and painted polychrome faïence produced in the imperial workshops established in the town during the Ottoman period. To explain this choice of location, it has been suggested, without any concrete proof, that a well-established potting tradition had previously existed in the region. Discoveries on the spot together with a study of the Byzantine pottery preserved in the museum enabled me to demonstrate the existence of (...) Byzantine potters who were active in Nicaea between the l0th and the beginning of the I4th century. The characteristics of their wares, whether of white or red day, are presented in detail in this article. Nicaea/Iznik must henceforth be regarded as a considerable centre of ceramic production, which was in operation over a long period of time. (shrink)

One of the important theological issues for ancient and medieval thought was to account for the existence of evil. Augustine provided an aesthetic explanation: evil exists for contrast, to let the good stand out more prominently. Thus, just as a painting that uses both dark and bright colors, the universe that contains both good and evil is beautiful as a whole. The argument was debated in the twelfth and thirteenth centuries. Alexander of Hales, as well as the Franciscan tradition (...) in general, strongly supported the Augustinian position. The article discusses a previously unknown debate between Albert the Great and Bonaventure about this issue and suggests that Bonaventure is defending his fellow-Franciscan Alexander. (shrink)

Comparative study of wall paintings in churches dedicated to St Clement in Stará Boleslav and Rome reveals the wide international networking of contemporary agents in artistic transfer. The importance of late twelfth-century wall paintings in St Clement’s in Stará Boleslav – among Bohemia’s foremost medieval monuments – is underscored by their close proximity to the place of the martyrdom and the center of the cult of the country’s patron, St Wenceslas. The Bohemian church’s consecration echoes the Cyril and Methodius mission, (...) resonating with the transfer of St Clement’s relics from the Crimea to Central Europe, then to the Basilica of San Clemente in Rome. The frescoes in the Roman basilica’s lower church have been recognized as an important source for the concept of the paintings. The extensive, and iconographically exceptional, image cycle of St Clement’s life was commissioned by a high-ranking cleric, possibly the Salzburg archbishop, Adalbert of the Přemyslid family. The recent fresco restoration survey has yielded insights into the painting technique and will become the basis for the future rescue and rehabilitation of the Romanesque church’s wall decoration. (shrink)

Compositions representing the Heavenly Liturgy - the liturgy that is presided over by Christ in heaven, of which the earthly liturgy is a reflection - first appear around the beginning of the fourteenth century in the decoration of Byzantine domes. Most scholars argue that such scenes depict an ancient concept, almost as old as liturgical exegesis itself. I contend that this view is based on a flawed reading of liturgical commentaries, of the biblical texts from which the commentaries draw (...) inspiration, and of the Divine Liturgy itself. I argue that the scene of the Heavenly Liturgy represents both an exegetical stream independent of texts and an understanding of the eucharistic liturgy during the fourteenth and fifteenth centuries that existed in visual form in tandem with traditional textual interpretations of the rite. The scene, devised by painters and their patrons, therefore constitutes a concurrent exegetical tradition that both derived from the commentaries and deviated from them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. 689 Susannah Bartlow White Fear in Universities: The Story of an Assata Shakur Mural No one is going to give you the education you need to overthrow them. No one will teach you your true history, teach you your true heroes if they know that knowledge will set you free. Theory without practice is just as incomplete (...) as practice without theory. The two have to go together. —Assata Shakur, quoted on a mural at Marquette University What does it mean to whitewash? To terminate? I have been tasting and retasting these words on my tongue after a mural of Assata Shakur at Marquette University was whitewashed, and I was fired—terminated —for having supported the mural, ending a fourteen-year career in feminist academia. As the founding director of the Gender and Sexuality Resource Center (GSRC), my job was to build an academic support office for women’s, gender, and LGBTQ+ education and empowerment. In the center’s third year, Amanda Smith (a Marquette senior) and Jeanette Martín (a community artist and program assistant at the center) envisioned, planned, and executed the Assata Shakur mural project as a way to invite greater community interest. In my role as director of the center, I supported the project, communicated it to senior leaders, and spread the word about the community-painting day in late March 2015. The mural was on display for six weeks at the GSRC before a storm of  Students fill in detail of the Assata Shakur mural at Marquette University’s Gender and Sexuality Resource Center. Photograph by Amanda T. Smith. News and Views 691 media coverage in mid-May prompted the university to cover the mural in white paint and fire me for my support of the project. My experience of this process was as rapid as it sounds: I received a few phone calls alerting me that the whitewashing of the mural was imminent and that there was a formal review of my leadership decisions, and I was fired twenty-four hours later. The idiomatic usage of “whitewash” tells us that something is shameful and that it has been, or ought to be, covered up. Whose cover-up was it—and whose shame? Over the six weeks it was on display at the center, the mural invited people into a quiet space off a hallway, and it had sparked discussion among staff, faculty, and students who used the space. The mural was one of very few images of a black woman anywhere on Marquette’s campus, and it contributed to a sense among many students of color that the GSRC was a space in which they were welcomed and safe and where they could be comfortable. Yet in the distortions of white supremacy, the mural looked like a threat, rather than an intellectual and community representation central to the university itself. Other recent cases of faculty repression, from Steven Salaita to Saida Grundy and Zandria Robinson, demonstrate how concerns about liability, finances, and public perception guide administrators ’ decisions about representation on campuses. Far from being liberal utopias, or even spaces that respect speech, universities remain testing grounds when students’ or educators’ actions present direct antiracist critique. What more clear or direct example of antiracist critique than the quotes we chose for the mural: Assata Shakur’s own words asserting the importance of street smarts and intellectual prowess, naming the power invested in knowledge systems and the importance of claiming that power for ourselves? Universities are, in our time, particularly responsive to pressure from the right. Private, nonprofit, advocacy organizations troll university websites looking for evidence of liberal bias; conservative media outlets publish student bloggers who feed the fantasy that the facts of United States history, presented without whitewashing, do not belong in classrooms. In particular, those who study the lives and knowledges of historically marginalized populations are in the crosshairs of right-wing attacks. In the case of the mural—and in each of the other cases cited above— it was either a right-wing news source or a powerful donor or decision 692 News and Views maker who raised concerns about leftist bias, civility, or... (shrink)

A well illustrated study of Byzantine art, which analyses the elements of architecture and painting in terms of the aesthetic categories, "sublime" and "beautiful." The final section of the book argues that though these two categories are distinct, they are also interdependent because their source is the same, viz., "the aesthetic joy which includes every potential aesthetic emotion".--A. R.

The article is devoted to the problem of changing stylistic paradigm in the Persian poetry of XVI-XVII centuries and reflection of this process in self-consciousness of outstanding authors of the period. Parallel with preserving stable norms of traditional poetics literary practice demonstrates flexibility and forms new range of popular poetic strategies. New aesthetic criteria if ideal poetic language, expressed with epithet ‘colourful’, appears alongside with criteria of previous period, expressed with epithet ‘sweet’ and step by step gets leadership. Lyric poetry (...) of three famous authors of the period of formation and golden age of Indian style served the object of analyses. The phenomena of visualization of imagery connected with perfect poetic language illustrated by examples of ‘Poet and Poetry’ motifs located in ‘frame text’ in end of the qhazal. These motifs serve one of the regular contexts of author’s name and show author’s attitude to his creation, including stylistic preferences. Refinement of poetic fantasy being declared basic condition of creating perfect poetry described visually as coiling lasso, poetry itself as flourishing garden, fountain or European house decorated with painting. Such characteristic of word creation has analogies in the works of Baroque style theorist Giambattista Marino. (shrink)

It is now forty years since the publication of one of the defining papers on early-medieval art, Ernst Kitzinger's “The Cult of Images in the Age before Iconoclasm.” This article remains a deeply influential study on early-medieval attitudes toward visual culture, arguing, as it does, that the political crises of the later sixth century helped produce a turn toward a new function for religious imagery as belief in the political and military strength of the Byzantine Empire crumbled. The implications (...) of the subsequent rise in the cult of images have been exhaustively discussed in numerous further papers. In a footnote to his paper Kitzinger introduces the interesting question of a turn to iconoclastic activities at this period by the Jews of Palestine. He suggests that this physical action, including the deliberate destruction of some images, might be linked to a Jewish reaction against the growth in the use of images by Christianity, a reaction attested in a form of Christian-Jewish polemic that developed in the middle years of the seventh century. Kitzinger's central concern in this essay is the cult of images in the Byzantine Empire, and he does not develop this hypothesis. Taking his footnote as my starting point, I will directly address some possible causes of Jewish iconoclasm. In so doing, I will examine how attitudes toward religious imagery played a role in the construction of cultural identity at this period. Images and their cults are not simply a matter for Byzantine Christianity, for the points drawn from a discussion of Jewish iconoclasm carry wider implications for the analysis of the place of images in early-medieval society. (shrink)

Among Marian epithets one of the more obscure is the designation "the Egyptian." This article traces the term in modern Greek and Byzantine literature. The investigation centers on an icon reputedly painted by the Apostle Luke while he was living in Egypt. Our researches lead to the city of Attaleia where, according to legend, a Lukan icon had found its way. Textual evidence establishes that around this icon a healing cult of the Virgin Aigyptia flourished in the later 11th (...) century. The written record is confirmed by the seal of a certain bishop Theodosios of Atteleia. The obverse bears a representation of the Virgin accompanied by the epithet Aigyptia. (shrink)

In recent years, a trend has emerged in the field of art conservation, the aim of which is to protect street art objects. Attempts to conserve murals face many problems. This is due to various factors – lack of time distance to this type of objects, difficulties in assessing their artistic value, frequent lack of interest of artists in the conservation of their works, material impermanence of murals, their often-occasional nature; also, the fact that most of these objects are not (...) legally protected. The paper discusses the problems faced by an art restorer who wants to save murals. Examples of murals are presented, the conservation of which is not possible, among others, due to the fact that the houses on which they were painted are intended for demolition. There are also examples of murals whose rescue from destruction gained public approval and the conservation of which was carried out. The paintings are in a very poor condition. This is a feature of most murals, which are usually made on old, unrepaired plasters with low-quality paints. Their maintenance is a very difficult task. The presentation shows the various stages of conservation of works lacated in Warsow. The conservation of the murals is carried out in order to preserve street art facilities. Apart from the involvement of art conservators, social support for this type of activity is also important. However, one should be aware that most of murals have no chance of becoming a permanent part of the city landscape. Their fate will be determined by chance. (shrink)