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L'Église médiévale est le lieu d'une synthèse artistique qui mobilise toutes les techniques et formes visuelles pour dialoguer avec l'architecture et son espace. L'intérêt du christianisme pour la production d'images, notamment figurées, pour les objets et pour la construction de bâtiments à la monumentalité recherchée, fait aussi du lieu ecclésial un espace habité, structuré et dynamique. Les contributions réunies dans ce volume abordent en quatre volets thématiques la manière dont le décor, les objets, les choix architecturaux donnent à la fois sens et forme à cette conception de l'Église comme espace de mouvement. L'architecture, résultat de choix techniques et esthétiques inscrits dans leur temps, abrite des espaces différenciés par leur fonction, communiquant entre eux par des systèmes de seuils. Agencés par l'architecture elle-même, par des éléments de mobilier, ces zones acquièrent aussi leur sens et leur fonction grâce aux images monumentales et aux inscriptions, faisant échos aux rites et à leurs acteurs. L'autel et ses environs sont ainsi particulièrement valorisés par la présence d'objets, d'étoffes, participant par leur caractère mobile et amovible au déroulé du scénario liturgique. Voulue pour matérialiser la permanence de l'Église-institution, l'Église de pierre existe grâce aux multiples interactions qu'elle accueille et qu'organisent les objets, éléments de mobilier, formes architecturales, images et discours visuels que le présent volume s'attache à mettre en lumière.
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"Dedicated to Erica Cruikshank Dodd, Art and Material Culture in the Byzantine and Islamic Worlds offers new perspectives on the Christian and Muslim communities of the east Mediterranean from medieval to contemporary times. The contributors examine how people from diverse religious backgrounds adapted to their changing political landscapes and show that artistic patronage, consumption, and practices are interwoven with constructed narratives. The essays consider material and textual evidence for painted media, architecture, and the creative process in Byzantium, Crusader-era polities, the Ottoman empire, and the modern Middle East, thus demonstrating the importance of the past in understanding the present"--
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Cet ouvrage met au cœur de son propos une interrogation simple : dans l'organisation complexe de l'espace de l'église médiévale, les emplacements choisis pour les images qui ornent les murs et les objets n'offrent pas toujours la possibilité de voir celles-ci, d'en déchiffrer le contenu. Certaines semblent réservées à des groupes de l'assemblée stationnant dans des espaces spécifiques, d'autres ne sont pas visibles depuis les principales zones affectées aux fidèles ou aux clercs, d'autres encore sont situées trop haut. Le rapport, a priori évident, entre représentation et visibilité se trouve donc souvent démenti, appelant alors une nouvelle notion, celle de présence. Analyser la tension existant entre ces trois catégories - figuration, visibilité et présence - implique une étude croisée des œuvres figurées, des monuments et des sources écrites. Les notions de mobilité et de fixité permettent également de prendre en compte les multiples jeux d'échelles à l'œuvre dans ce lieu rituel qu'est l'église, impliquant des objets, des manuscrits, des dispositifs liturgiques, des gestes, des déplacements physiques, dialoguant avec un décor appliqué au corps même du monument, épousant l'immobilité de l'architecture. Les cinq chapitres thématiques qui organisent ce volume mettent en regard différents cas issus de l'Occident médiéval et de l'Orient byzantin, selon une chronologie longue (de l'Antiquité tardive à la fin du Moyen Âge), dans une volonté de décloisonner les disciplines et les aires géographiques afin de tirer tous les enseignements d'une approche transversale de l'image médiévale.
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For more than a millennium, from its creation in 330 A.D. until its fall in 1453, the Byzantine Empire was a cradle of artistic effervescence that we are only beginning to rediscover. Endowed with the rich heritage of Roman, Eastern and Christian cultures, Byzantine artists developed an architectural and pictorial tradition, marked by symbolism, whose influence extended far beyond the borders of the Empire. Today, Italy, Northern Africa, and the Near East preserve the vestiges of this sophisticated artistic tradition, with all of its mystical and luminous beauty. The magnificence of the palace
Art, Byzantine --- Byzantine art --- Art, Medieval --- Christian art and symbolism --- History. --- Art, Byzantine.
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Christian saints in art. --- Art, Byzantine. --- Byzantine art --- Art, Medieval --- Christian art and symbolism --- Art, Byzantine --- Christian saints in art --- Saints chrétiens dans l'art --- Art byzantin --- Art [Byzantine ] --- Saints militaires --- Iconographie
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The Dumbarton Oaks Papers (DOP) were founded in 1941for the publication of articles relating to late antique, early medieval, and Byzantine civilization in the fields of art and architecture, history, archaeology, literature, theology, and law. Publication was suspended during World War II, and resumed in 1946 as collections of occasional papers, primarily by faculty members resident at the research institute. At first, DOP appeared irregularly, but in the mid-1950s it began to be published on an annual basis. It now includes articles by a wide array of international Byzantinists and features papers from annual symposia, miscellaneous articles, and reports on fieldwork projects sponsored by Dumbarton Oaks. Volumes currently average 300-400 pages.Since 1999 (Vol. 53) DOP has been made available in digital form through the Dumbarton Oaks website at http://www.doaks.org/resources/publications/dumbarton-oaks-papers
Art, Medieval --- Art, Byzantine --- Art, Byzantine. --- Art, Medieval. --- Medieval art --- Byzantine art --- Christian art and symbolism --- Medieval --- Visual Arts - General --- Art médiéval --- Art byzantin
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Art, Medieval. --- Art, Byzantine. --- Art, Early Christian. --- Early Christian art --- Christian art and symbolism --- Byzantine art --- Art, Medieval --- Medieval art --- Art, Byzantine
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The question of the independence of Byzantine iconography continues to draw attention. Following extensive research on the persistence of Classical motifs in Byzantine art, interest has recently turned to the originality of the latter and its reliability as a historical source. This study examines whether military equipment (armour, weapons, insignia and costume) shown in images of the warrior saints reflects items actually used in the mid-Byzantine Army or merely repeats Classical forms. Such representations are compared with documentary evidence gathered chiefly from Byzantine military manuals. The author demonstrates that military equipment, being a vital branch of material culture subject to constant evolution, provides a good indicator of iconographic innovation in the art of Byzantium.
Christian saints in art --- Armor in art --- Weapons in art --- Art, Byzantine --- Exhibitions --- Christian saints in art - Exhibitions --- Armor in art - Exhibitions --- Weapons in art - Exhibitions --- Art, Byzantine - Exhibitions --- Saints militaires --- Iconographie --- Arms and armor in art
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Byzantine art is normally explained as devotional, historical, highly intellectualized, but this book argues for an experiential necessity for a fuller, deeper, more ethical approach to this art. Written in response to an exhibition the author curated at The Menil Collection in 2013, these essays challenge us to search for novel ways to explore and interrogate the art of this distant culture. They marshal diverse disciplines-modern art, environmental theory, anthropology-to argue that Byzantine culture formed a special kind of Christian animism. While completely foreign to our world, that animism still holds important lessons for approaches to our own relations to the world. Mutual probings of subject and art, of past and present, arise in these essays-some new and some previously published-and new explanations therefore open up that will interest historians of art, museum professionals, and anyone interested in how art makes and remakes the world. Byzantine art is normally explained as devotional, historical, highly intellectualized, but this book argues for an experiential necessity for a fuller, deeper, more ethical approach to this art. Written in response to an exhibition the author curated at The Menil Collection in 2013, this monograph challenges us to search for novel ways to explore and interrogate the art of this distant culture. They marshal diverse disciplines-modern art, environmental theory, anthropology-to argue that Byzantine culture formed a special kind of Christian animism. While completely foreign to our world, that animism still holds important lessons for approaches to our own relations to the world. Mutual probings of subject and art, of past and present, arise in these essays-some new and some previously published-and new explanations therefore open up that will interest historians of art, museum professionals, and anyone interested in how art makes and remakes the world.
Art, Byzantine. --- Animism in art. --- Art, Byzantine --- Exhibitions. --- Byzantine art --- Art, Medieval --- Christian art and symbolism --- Byzantine. --- animism. --- art. --- christian animism. --- exhibition. --- museum experience. --- visitor experience. --- Geographical Subject Heading.
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