Worldly Gurus and Spiritual Kings: Architecture and Asceticism in Medieval India. By Tamara I. Sears. New Haven: Yale University Press, 2014. Pp. 300, illus. $75.

Bishop Robert Grosseteste and Lincoln Cathedral provides a much-needed and in-depth investigation of Grosseteste’s relationship to the medieval cathedral at Lincoln and the surrounding city. The architecture and topography of Lincoln Cathedral are examined in their cultural contexts, in relation to scholastic philosophy, science and cosmology, and medieval ideas about light and geometry, as highlighted in the writings of Robert Grosseteste - bishop of Lincoln Cathedral. At the same time the architecture of the cathedral is considered in relation to the (...) roles of the clergy and masons; the policies of the bishop; matters of governance, worship and education; ecclesiastical hierarchy, church liturgy, politics and processionals. Investigations include parallel studies of Salisbury Cathedral and Charlemagne’s Palatine Chapel at Aachen, highlighting important connections in regard to ceremonial itineraries and political/religious hierarchies. Finally, the book explores Grosseteste’s ideas in the broader context of medieval and Renaissance cosmologies, optics/perspective, natural philosophy and experimental science. The contributors to this volume make an important contribution to our current understanding of the relation between architecture, theology, politics and society during the Middle Ages, and how religious spaces were conceived and experienced. (shrink)

Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam By GravesMargaret S., xi + 339 pp. Price HB £55.00. EAN 978–0190695910.

Cette contribution s’intéresse à la position problématique des arts mécaniques dans les systèmes médiévaux du savoir. Remplaçant la position secondaire assignée aux arts mécaniques du début du Moyen Âge, les solutions proposées par Hugues de Saint-Victor et Gundissalinus eurent une influence forte durant le XIIIe s. Alors que l’intégration des arts mécaniques dans le système de connaissance de Saint-Victor trahit leurs positions encore accessoires vis-à-vis de la considération des arts libéraux, Gundissalinus propose deux principales nouveautés. D’un côté il place les (...) arts mécaniques aux côtés de l’alchimie et des arts de prédiction et de magie. D’un autre côté cependant, utilisant la théorie avancée par Avicenne, il subordonne ces « sciences naturelles » à la philosophie naturelle elle-même, établissant ainsi une architecture du savoir plus vaste et plus organisée hiérarchiquement. Notre contribution examine les implications découlant de ces développements ainsi que leur réception à Paris durant le XIIIe s., soulignant la pertinence des solutions proposées par Gundissalinus dans les discussions qui ont suivi, concernant la structure de la connaissance humaine. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 1 Seiten: 290-295.

Architecture is a content area in art education that is not much investigated by art educators. Even less addressed is Romanesque architectural style. Based on direct experiences of visiting hundreds of Romanesque churches in France, Italy, and Spain; many years of teaching design courses; and subsequent research and visual analyses of photos, the author discusses the aesthetic merits of Romanesque architecture through design principles: unity by repetition, variety and contrast, proportion, hierarchical forms, and articulation. Unity, variety, and contrast are found (...) in many modern design books, proportion, less so, but it was very important in the medieval period. Hierarchical forms and articulation are uniquely Romanesque. The author demonstrates that Romanesque builders possessed a great sense of design and creativity. (shrink)

These essays recover the lively discussions on the topics of "magnificence" and "the sublime" in the art and literature of antiquity, the Renaissance, and the ages following, and apply them to the Middle Ages to draw exciting new conlusions"--Provided by publisher.

The geometrical elements in the architecture of Lincoln Cathedral, in the vaulting and elevations, can be compared to the geometries described by Robert Grosseteste in his cosmologies. The architecture can be read as a catechism of the cosmologies. The geometries appear in the cathedral for the first time in the history of architecture to explain the generation, emanation, reflection, refraction and rarefaction of light as it forms the material world. The proposition is that the geometries of the architecture of Lincoln (...) Cathedral can be understood in relation to the geometries which are the basis of the cosmologies of Robert Grosseteste, Bishop of Lincoln 1235–53, in particular De lineis, angulis et figuris, and De luce. Many of the architectural forms at Lincoln Cathedral are unprecedented in their appearance or use, and they form the basic vocabulary for the entire development of English Gothic architecture. Their radically new appearance has never been adequately explained. Vocabulary elements such as the ridge pole, tierceron or non-structural rib, lierne or segmented ridge rib, flying rib, conoid springer vault or cone of ribs rising from the springer pole in the elevation, triradial vaulting or three ribs meeting at the ridge pole, double syncopated or overlapping arcading, and the bundled and ribbed umbrella column, all originate in some form or are developed for the first time in Lincoln. All of the geometries which appear for the first time in the architecture appear in the cosmologies of Grosseteste, for the purpose of explaining the generation, emanation, reflection, refraction, and rarefaction of light as it forms the material world in geometrical configurations. The cathedral would thus be a catechism of the geometrical substructure of the physical world, in the tradition of the Timaeus of Plato. There is no evidence that the concepts were dictated by Grosseteste directly to masons, but it is well known that such concepts permeated medieval architecture and city planning, and that they were filtered down through all trades involved in construction of the city and the cathedral. Grosseteste’s cosmologies represent a core achievement of Scholasticism, the synthesis of classical philosophy and Catholic theology, which is embodied in the architecture of the cathedral. (shrink)

As a spiritual or meditative practice solitude implies more than mere silence or being alone. While these are perhaps indispensablecomponents, it is possible to be alone or to live in silence and nevertheless be unable to reconfigure these into genuine solitude. Solitude is also more than being in some remote or inaccessible place. Even though geographical isolation might be conducive to solitude, with rare exceptions human beings have seldom sought solitude in complete seclusion in the wilderness. The places where human (...) beings have sought solitude have in the end been human places, human-built places. It should come as no surprise then that through architecture humans beings have sought to build solitude, to construct, through stone and glass and wooden structures, placesthat are conducive to and encourage solitude. Such structures include individual hermitages, monasteries, temples, and even cathedrals. In each case the purpose is to translate or reconfigure a natural geographical place into a space, a human space, where solitude as a spiritual or meditative practice becomes possible. What the individual sojourner brings to the experience is an inner openness to the architecture, to the natural environment and to the spiritual realm which interweave to create solitude. This paper examines (1) the spiritual need to experience solitude, (2) what it is that solitude requires, and (3) the endeavor to create solitudethrough architecture and the challenges it poses to both architecture and spiritual practice. In particular the paper explores and compares solitude’s architectural expression in three Medieval Christian monastic orders—the Camaldolese Order, the Carthusian Order, and the Cistercian Order. Despite their common heritage these orders realize solitude, as an essential spiritual value, through unique architectural expressions. (shrink)

It has long been shown that medieval builders primarily used geometrical constructions to design medieval architecture. The thought processes involved, however, have been considered to be remote from the natural philosophical speculations of the Scholastics, who, following Aristotle, had taken the basis of physics to be the study of dynamics, or change. However, investigations of the Expertises of Chartres, Florence, Milan, and other documents related to medieval building suggest that medieval architects, in speaking of their work, resort to recognizable dynamic (...) arguments, structured similarly to the speculations of Scholastic philosophers. These dynamic explanations of structural behaviour persist at least into the 17th century, but thereafter lost out to the arguments based on statics made by modern scholars attempting to explain the endurance of these structures. (shrink)

This article addresses the architecture of the Inns of Court, the home of the Common Law. The approach taken, however, rejects an approach that would reduce the Inns to a roster of historical details and laudatory description. Instead, the Inns are seen, if not actually felt, as the embodiment of the “original” ground of law. This experience is revealed through a three-stage discovery process that situates the Inns within the medieval context of symbol and ritual as informed by Turner’s concept (...) of liminality; analyzes the space of the Inns using concepts of bodily disunity derived from the psychoanalysis of Lacan and Klein; relates this space to the “body of Law” in phenomenological terms, as a function of the irresolvable priority of either arché or anarché. The article concludes with a series of speculative propositions on a series of originary architectonic sites: the labyrinth, the pinnacle, and the door. These culminate in the assertion that the architecture of the Inns of Court stages the deferral of bodily interiority through which the Law simultaneously derives its infinite remove and its authority. (shrink)

Cheju Island, Korea's historic island of exile, with a harsh natural environment, early developed a negative image as human habitat. The author challenges this perception and shows how Neo-Confucian state ideology during the Yi dynasty created and conserved the island as a viable habitat by using feng-shui--a powerful medieval science of surveying--to shape the island's built environment and quality of life. The outcome, reflecting sustained political commitment to the philosophical concept of enlightened undervelopment, was a sincere landscape inhabited by a (...) virtuous people. (shrink)

This article analyzes the formative role of medieval theology and aesthetics in the development of postwar American architecture by focusing on the architectural theory and practice of Mies van der Rohe and Jean Labatut, both of whom became actively interested in Neo-Thomism from the late 1940s. More specifically, a closer look at their reliance on the work of Jacques Maritain, the preeminent promotor of Neo-Thomism, sheds light on the transmission and circulation of old and new concepts within twentieth-century architectural theory. (...) By revealing how Maritain’s ideas helped to codify the latter and thus exposed the premodern ideas at the heart of modern architecture, I argue that modernist aesthetics should be re-evaluated with regards to its definition of “the new” and its emphasis on the breakdown or mutation of premodern frames of reference. (shrink)

In Monastic Life in Medieval Daoism, a senior scholar of Daoist studies presents for the first time a detailed description and analysis of the organization and practices of medieval Daoist monasteries. Following an introduction to the wider, comparative issues involved in the study of monasticism, Livia Kohn outlines the origin, history, conceptual understanding, and social position of the monasteries, which came into their own early in the Tang dynasty. She examines texts from this period along with the architectural layout of (...) Daoist monasteries, the daily discipline and interpersonal etiquette of monks and nuns, their implements and vestments, as well as the liturgical dimension of monastic life. Throughout, Professor Kohn maintains a high comparative level, linking the Daoist situation and practices not only with Chinese popular, Confucian, Buddhist, and lay Daoist traditions, but also with relevant examples from Indian Buddhism and medieval Christianity. Monastic Life in Medieval Daoism breaks new ground in Daoist studies, the understanding of Chinese religion and medieval society, and the theoretical understanding and interpretation of the comparative phenomenon of monasticism. It will be required reading for scholars of Daoist studies and Chinese religion and medieval history and illuminating to experts in comparative religion and religious studies in general as well as to the wider public interested in questions of monastic life. (shrink)

Mediaeval psychological theory was a “faculty psychology”: a confederation of semiautonomous sub-personal agents, the interaction of which constitutes our psychological experience. One such faculty was intellective appetite, that is, the will. On what grounds was the will taken to be a distinct faculty? After a brief survey of Aristotle's criteria for identifying and distinguishing mental faculties, I look in some detail at the mainstream mediaeval view, given clear expression by Thomas Aquinas, and then at the dissenting views of John Duns (...) Scotus and William of Ockham. I conclude with some reflections on why the mainstream mediaeval view was discarded by Descartes. (shrink)

Conventional wisdom holds that Judaism is indifferent or even suspiciously hostile to the visual arts due to the Second Commandment's prohibition on creating "graven images," the dictates of monotheism, and historical happenstance. This intellectual history of medieval and modern Jewish attitudes toward art and representation overturns the modern assumption of Jewish iconophobia that denies to Jewish culture a visual dimension. Kalman Bland synthesizes evidence from medieval Jewish philosophy, mysticism, poetry, biblical commentaries, travelogues, and law, concluding that premodern Jewish intellectuals held (...) a positive, liberal understanding of the Second Commandment and did, in fact, articulate a certain Jewish aesthetic. He draws on this insight to consider modern ideas of Jewish art, revealing how they are inextricably linked to diverse notions about modern Jewish identity that are themselves entwined with arguments over Zionism, integration, and anti-Semitism. Through its use of the past to illuminate the present and its analysis of how the present informs our readings of the past, this book establishes a new assessment of Jewish aesthetic theory rooted in historical analysis. Authoritative and original in its identification of authentic Jewish traditions of painting, sculpture, and architecture, this volume will ripple the waters of several disciplines, including Jewish studies, art history, medieval and modern history, and philosophy. (shrink)

Architecture has often served a variety of purposes in addition to that of mere functionality. Different categories of meanings can be distinguished. In this essay some aspects of political meaning in medieval architecture will be discussed. The architecture of churches commissioned for instance by bishops, archbishops, provosts or other high-ranking clerical patrons was often used to express views about the status and position of both patron and institution. Rivalling patrons could copy those parts of each other's churches that were considered (...) essential and characteristic. Buildings were thus often symbols, not only of the Church and of Heavenly Jerusalem, but also of an idealized history and an aspired status and position. (shrink)

A Select Bibliography Michael McMahon Sheehan Jacqueline Murray. 16 Ritual and Iconography 134 12-14c Studies in Medieval Domestic Architecture ed M.J. Swanton (London 1975). [English aristocratic housing] 135 11-12c WEDZKI,...

The British political theorist and architect Arthur J. Penty (1875-1937) is today remembered as the co-originator of ‘post-industrialism’ and as the first guild socialist. His writings evince a lifelong aversion to the evils of commercial society, as well as an intense appreciation for Medieval life. Yet Penty's conservative tendencies belie his attentiveness to what Harold Perkin would call ‘professional society.’ Though he abhorred capitalism, Penty believed in assigning status to workers on the basis of social function and technical expertise. Most (...) surprisingly, given his reputation, he held that the guarantee of such status represented the first step towards a more democratic society. This essay accordingly recasts Penty as a political theorist of the professions. It does so through the analysis of not only his core interventions in political theory, but also his lesser-known trade writings. The first section focuses on Penty's early life and context. The second explains his historical understanding of architectural decline through his contrasting narratives of Classical and Gothic aesthetics. The third section outlines his theory of how to restore democratic architecture in modernity. The fourth section comments on Penty's larger significance in the history of ideas at a time of increasing populist references to ‘traditional’ aesthetics. (shrink)

An essential element among medieval church furnishings was the tabernacle or sacrament house, where the consecrated Host was placed for storage toward the end of the Mass. While the most numerous and best studied of such tabernacles to survive are in and around Germany, this article offers a first comprehensive account of medieval tabernacles preserved in the Basque Country (País Vasco/Euskadi) of northern Spain; scholars have hitherto overlooked these tabernacles. The focus here is on tabernacles created between the councils of (...) Lateran IV (1215) and Trent (1545–1563), when a lack of clear prescriptions resulted in considerable variety. All examples studied were produced in the late Gothic and early Renaissance styles, and these tabernacles’ forms fall into two types: wall niches and freestanding towers. Many tabernacles consist only of architectural frames, but some feature elaborate iconographic programs; while some are true works of art, many others are rather modest or based on fine models but executed in a provincial manner. A fascinating aspect is the Atlantic geographic connections that become manifest in the Basque tabernacles, particularly to northern France and the Low Countries, with which the Basques were closely linked through maritime commerce. (shrink)

Includes 28 illustrations of manuscripts, artwork, and architecture. Paperback edition ($16.95) not seen. Annotation copyrighted by Book News, Inc., Portland, OR.

This volume illuminates ways in which Jerusalem was represented in Western Europe during the Middle Ages, c. 700-1500. Focusing on maps and plans in manuscripts and early printed books, it also considers views and architectural replicas.

This book presents a study of the cult of saints among Muslims and Jews in medieval Syria and the Near East. Through case studies of saints and their devotees, discussion of the architecture of monuments, examination of devotional objects, and analysis of ideas of ‘holiness’, the book depicts the practices of living religion and explores the common heritage of all three monotheistic faiths. Critical readings of a wide range of contemporary sources — travel writing, geographical works, pilgrimage guides, legal writings, (...) historical sources, hagiography, and biography — reveal a vibrant religious culture in which the veneration of saints and pilgrimage to tombs and shrines were fundamental. (shrink)

The abbey of Conques and its dominant church dedicated to St Foy are today one of the most prominent examples of the harmonic relationship between medieval sacred architecture and nature. This article considers the medieval landscape of Conques from an environmental-historical perspective by analyzing early medieval writings about the abbey. It focuses on early descriptions, which often contain literary, hagiographical topoi depicting ideal, symbolic, or imagined landscapes - sometimes, however, also partially reflecting reality. These descriptions serve, with caution, to investigate (...) the local environment, its transformation, and its effect on the early history of the monastery. In addition, the article delves into the eleventh-century Liber miraculorum sanctae Fidis to investigate strategies that the monastic community used to control St Foy’s estates not only close to the abbey but also in the wider region. Analysis reveals the environment conditions, their impact on the history, and ways in which the monastic community sacralized the landscape through real processions and miracle stories to control it. (shrink)

What did it mean to keep a secret in early medieval England? It was a period during which the experience of secrecy was intensely bound to the belief that God knew all human secrets, yet the secrets of God remained unknowable to human beings. In Bonds of Secrecy, Benjamin A. Saltzman argues that this double-edged conception of secrecy and divinity profoundly affected the way believers acted and thought as subjects under the law, as the devout within monasteries, and as readers (...) before books. One crucial way it did so was by forming an ethical relationship between the self and the world that was fundamentally different from its modern reflex. Whereas today the bearers of secrets might be judged for the consequences of their reticence or disclosure, Saltzman observes, in the early Middle Ages a person attempting to conceal a secret was judged for believing he or she could conceal it from God. In other words, to attempt to hide from God was to become ensnared in a serious sin, but to hide from the world while deliberately and humbly submitting to God's constant observation was often a hallmark of spiritual virtue. Looking to law codes and religious architecture, hagiographies and riddles, Bonds of Secrecy shows how legal and monastic institutions harnessed the pervasive and complex belief in God's omniscience to produce an intense culture of scrutiny and a radical ethics of secrecy founded on the individual's belief that nothing could be hidden from God. According to Saltzman, this ethics of secrecy not only informed early medieval notions of mental activity and ideas about the mind but also profoundly shaped the practices of literary interpretation in ways that can inform our own contemporary approaches to reading texts from the past. (shrink)