By Jill Caskey;Adam S. Cohen;Linda Safran
This quantity ways the matter of the canonical middle via taking a look at paintings and structure at the borders of the medieval global, from China to Armenia, Sweden, and Spain. Seven individuals interact 3 detailed but similar difficulties: margins, frontiers, and cross-cultural encounters. whereas no longer exhibiting a unified technique or privileging particular theoretical constructs, the essays emphasize how suggestions of illustration articulated possession and id inside contested arenas. what's contested is either medieval (the fabric proof itself) and glossy (the scholarly traditions during which the facts has or has no longer been embedded). An creation through the editors areas the essays inside historiographic and pedagogical frameworks. individuals: J. Caskey, okay. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.
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Extra resources for Confronting the Borders of Medieval Art
Glick and Vivian B. Mann (New York, NY: Georges Braziller, 1992), 1-10. The notion of Sephardic Jews interacting with the cultures in their surroundings thus appears quite early, resulting in the misconception that Ashkenazi Jewry was culturally isolated; this was challenged for example by Ivan Marcus, Rituals of Childhood. Jewish Acculturation in Medieval Europe (New Haven, CT: Yale University Press, 1996), 9-13. 12 Glick, Islamic and Christian Spain, Chapter 5. 14 katrin kogman-appel two misapprehensions that had dominated earlier scholarship of cultural contacts, especially in Iberia.
1: From the Beginnings to the Middle Ages, pt. 2: The Middle Ages, ed. Magne Saebo (Göttingen: Vandenhoeck & Ruprecht, 2000), 579-90. 31 For a detailed discussion, see Sara Offenberg, “Expressions of Meeting the Challenges of the Christian Milieu in Medieval Jewish Art and Literature,” PhD dissertation (Beer Sheva: Ben Gurion University of the Negev, 2008, in preparation), chapter 1. 32 For more details and literature on the Tree of Jesse, see Katrin Kogman-Appel, “The Tree of Death and the Tree of Life: The Hanging of Haman in Medieval Jewish Manuscript 26 katrin kogman-appel Historians of Hebrew illuminated manuscripts, synagogue architecture, mosaic pavements, and wall paintings have long realized that Jewish art owed a great debt to the artistic repertoires of non-Jewish environments.
13 See, for example, Dodds, Menocal and Balbale, The Arts of Intimacy, chapter 7: “Brothers,” where, as in so much earlier scholarship, a putative personal relationship between Pedro “El Cruel” of Castile and Muhammad V of Granada is invoked as an explanation for perceived stylistic similarities. Both Ana Echevarría and Rosa María Rodríguez Porto, however, note that such alliances were hardly unique to Pedro I and Muhammad V; rather, they were typical of relations between the Castilian and Nasrid ruling houses, and scholarship’s singling out of this particular instance results in a significant distortion of the larger picture.
Confronting the Borders of Medieval Art by Jill Caskey;Adam S. Cohen;Linda Safran