Mediaval Art

A filmografia concede acesso a mundos distantes, e, por vezes, imaginários e desconhecidos. O cinema de terror tem vindo a evoluir numa trajetória paralela à pop culture, traçando contos e mitos perdidos no curso da história, e que levantam temáticas interessantes, para as quais o público não está consciente. Midsommar é um desses filmes, onde o folclore medieval nórdico é explorado na sua essência mais crua, e são levantadas morais transponíveis para o mundo contemporâneo. O conhecimento que se detém sobre estas culturas encontra-se num núcleo demasiado reservado, quer seja ao nível dos connaisseurs, ou das fontes historiográficas, que, na maior parte dos casos, se reduz a sagas, cuja linearidade histórica é incerta, ou a mitos que remanescem em manuscritos tardios, e após séculos de tradição oral. O cinema, acaba por ser uma fonte, que para além de contemporânea, nos permite analisar estas culturas com outro olhar, e acessibilidade. Do século XVI em diante, iniciaram-se estudos e compilações sobre a «Idade das Trevas», fazendo transcrições, e interpretações de cultos provenientes de mundos sobre os quais pouco ou nada se sabia, principalmente, naquele período em específico.

Přijde mi důležité diskutovat se studenty vedle nadčasových témat dotýkajících se krásy, vesmíru, podstaty bytí apod. i témata, která se týkají aktuálního dění / událostí, které visí ve vzduchu / společenské otázky / to, jak být uvědomělým a angažovaným občanem. Samozřejmě bychom se k nim v rámci výtvarné výchovy měli vztahovat přes umění. Klíčové dílo, ke kterému se budeme vztahovat, je Vor Medúzy (Le Radeau de la Méduse) od Theodora Gericaulta.

九年一貫課程藝術與人文領域課程綱要自 2003 年公布以來,在 2008 年進 行微調。新課綱不僅重新認可藝術形式的個別特質和領域專業,亦明確提示教師 運用「表現試探、基本概念、藝術與歷史文化、藝術與生活」之藝術四面向進行 統整教學。就「藝術與歷史文化」而言,要符應課綱,以學生為主體設計教學活 動,讓他們能夠主動建構知識,發展探索與表現、審美與理解、實踐與運用的藝 術能力,確為不小的挑戰。本文擬以研究者在大學戲劇系教授中古世紀劇場的課 程設計與教學作為案例,探討教師可以如何兼顧課程目標和學生主體性,經由教 材研究,選擇出適合的教學模式,深化藝術與歷史文化的學習。
The Grade 1-9 Curriculum Guidelines on Arts and Humanities was announced in 2003 and modified in 2008. The later version not merely re-cognized the peculiarity and specialty of each art form, but also informed the teachers to integrate their teaching on the basis of the four dimensions of art: “expression and exploration,” “basic concepts,” “art and history/culture,” along with “arts and life.” Among them, it is especially challenging to devise learner-centered activities on art and history/culture in which the learners can construct their knowledge and develop their competence in artistic expression, aesthetic understanding, and viable application. Taking a unit on medieval theatre at higher-education level for example, this paper explores how a teacher may work out the proper teaching materials and strategies through a careful study of the subject, so as to fulfill the learning objectives as well as the learners’ subjectivity in fostering a deeper understanding of art and history/culture.

Книга посвящена анализу причин различного понимания сущности и назначения культовых изображений в христианской традиции. Понимание сущности образа анализируется в контексте общих представлений о церковных символах и  в свете учения о Церкви в православии и католицизме. Особенности отношения к изображениям выводятся из понимания природы церковного символа, связанного в каждой из конфессий с пониманием сущности и назначения самой Церкви.

Konya’nın Meram ilçesinde yer alan Aksinne Mescidi, batıda ahşap sundurmalı son cemaat yeri şeklinde tasarlanmış önü açık medhal bölümü ve kubbeyle örtülü kare planlı kübik gövdeden meydana gelmektedir. Kitabesi bulunmadığı için inşa tarihi tam olarak bilinmeyen eser, mimari özellikleri ve süslemeleriyle tipik 13. yy Anadolu Selçuklu mescitlerinin özelliklerini taşımaktadır. Mevcut görünümünü 2005 yıllında başlatılan ve 2006 yılında sonlandırılan büyük ölçekli onarımla almış olup, öncesinde çeşitli dönemlerde yapılan değişiklik ve eklemelerle özgünlüğü kaybetmiş durumdaydı. Onarımda eklemeler kaldırılmış, duvarlarındaki çimento harçlar raspa edilmiş ve tahrip olan malzemelerinde yenilemeler yapılmıştır. Bu uygulamalar neticesinde duvarlarının alt bölümlerinde moloz ve kaba yonu taş, devamında ve kubbesinde tuğla kullanıldığı anlaşılmış, kerpiç duvarla tamamen kapalı hale getirilen medhal bölümünün ön kısmı açılarak, kırma çatılı örtüsü kaldırılmış ve ahşap sundurmayla kapatılmıştır. İç kısmında da benzer uygulamalara gidilmiştir. Bu bölümde sıvaların raspalanmasıyla yapının özgününe ait bazı kalıntılar açığa çıkarılmıştır. Bunlar arasında kubbeye geçiş ögelerinin aralarında açığa çıkarılan, köşeleri çini mozaiklerle meydana getirilen geometrik süslemeli olan sivri kemerli sağır nişler büyük önem taşımaktadır. Bir diğer önem taşıyan bölüm ise mihraptır. Onarım öncesinde yapıda, perde motifiyle şekillendirilmiş yarım daire nişli muhdes mihrap bulunmaktaydı. Bu mihrabın kaldırılmasıyla birlikte alt bölümde özgün mihraba ait alçı in-situ kalıntılara ulaşılmıştır. Aynı zamanda mihrabın batı tarafındaki duvarda seki kalıntısına rastlanmış olup, sekinin ön yüzünün mihraba ait alçı parçalarla kaplandığı görülmüştür. Onarımlarda bu alçı parçalardan hareketle kalıplar çıkarılmış ve kalıplara dökülen alçı levhalarla mihrap kavsarasız olarak yenilenmiştir. Bu işlemlerde özgün parçaların kullanılıp kullanılmadığı mevcut mihraptan anlaşılmamaktadır. Yalnız, özgün mihrabın parçalarının bir bölümünün Konya Sahip Ata Vakıf Müzesi’ne nakledildiği görülmüştür. Müzedeki buluntular ve in-situ kalıntılar bir araya getirildiğinde mihrabın, köşeleri pahlı dikdörtgen planlı niş üzerinde yükselen mukarnaslı kavsaralı olduğu ve çeşitli silmelerinin bulunduğu anlaşılmıştır. Düzen olarak bir yenilik göstermeyen mihrapta geometrik ve bitkisel süslemelerin yanı sıra figürlere de yer verilerek alışılmışın dışına çıkılmıştır. Anadolu Selçuklu döneminde figürlü süsleme birçok yerde kullanılmasına karşın, mevcut eserlerde görüldüğü üzere mihraplar bu alanlardan değildir. Bu sebeple Aksinne Mescidi mihrabı, Selçuklu döneminden günümüze ulaşmış programlanarak hazırlanan figürlü süslemeli tek örnek olma özelliğini taşımaktadır.

Aksinne Masjid, located in Meram district of Konya, consists of an entrance had an open view which was designed as a narthex with wooden porch in the west and a square plan scheme with cubical body covered with dome.  The construction date is not known exactly because it does not have an inscription but it has the characteristics of typical 13th century Anatolian Seljuk mosques with its architectural features and ornaments.  It took it’s present appearance with the large-scale renovation that was started in 2005 and ended in 2006 and had lost its authenticity with the changes and additions made in various periods before. In this renovation, additions were removed, cement mortars on their walls were scraped and renewed materials were destroyed. As a result of these applications, it was understood that rubble and rough stone was used in the lower parts of wall, after this part and in the dome brick was used. The front part of the entrance, which has been completely closed by the mud brick wall, was opened, and the hipped roof was removed, and then it was covered with a wooden porch. Similar applications were made in the interior. In this section, some remains belonging to the authencity of the structure have been uncovered with the scrape of the plasters. Among these, the pointed arch blinded niches whose corners decorated with geometric ornaments made of mosaic tiles were uncovered between in the components of the transition to the dome has a great importance. Another important part is the mihrab. Before the renovation, the building had a mihrab with a semi-circle niche, shaped by a curtain motif. With the removing of this mihrab, in the lower part,  the ruins of stucco as an in-situ which belongs to the original mihrab  was reached. At the same time, a platform was found on the wall in the west side of the mihrab, and seen that the front part of the platform covered with the stucco fragments of mihrab. In these renovations, the mihrap was renewed without kavsara . Whether or not the original fragments are used in these processes, could not be understood from the existing mihrab. It is only seen that a fragments of the original mihrab parts was transported to Konya Sahip Ata Foundation Museum. When the fragments in the museum and the in-situ ruins were brought together, the niche had a muqarnas kavsara and various wipes.  Showing no innovation for organisation, it was gone beyond the ordinary with using geometrical and herbal ornamentations as well as figures. Although the figurative ornament is used in many places during the Anatolian Seljuk period, the mihrabs are not from these areas as seen in the existing works. For this reason, the Aksinne Masjid mihrab is the only example with figured ornament that reached since the Seljuk period to the present.

A painting in the collection of the Society of Antiquaries of London, which has formerly been regarded as a memento mori, is shown here to be a funerary monument painted on canvas. There are few other extant examples on canvas, but similar compositions to the Antiquaries’ painting can be found painted on stone and wooden panels and even painted directly onto plaster on the walls of churches. Few are similarly portable in character, however, which suggests that the Antiquaries’ painting may have been commissioned for a reason other than as a permanent church fi xture and
that it may even have functioned in a broader commemorative capacity.

The wall painting was depicted at the end of the 15th century at the bell tower of the Romanian Cloisture Neamt. There is consensus that the Greek written source was translated at the Neamt scriptorium into Serb-Slowanian during 13./14th century. According to different vernacular languages all over Europe the murals in Neamt simplify the religious and dogmatic character of “Barlaam and Joasaph”. Biographic topics dominate the narration, theological arguments became irrelevant, religious discussions and doctrinal theology nearly disappeared; parables were not depicted. The intention in both cases is rather complex. On the literary level, the goal was to portray a ruler’s probation and the victory of Christianity and the moral formation of mankind in general. On the historic level, political ideal were intertwined with portrayal of current conditions, without wanting to create literal depictions thereof, however. Instead, the mediums of painting and pictorial rhetoric were implemented in order to convey the message that the sponsors of both wall paintings are examples of Christian rulers after the fashion of Joasaph.

The medieval settlement near Topola village, Dobrich region– old prospects and new problems
Maria Christova / Sofia
The work of the project “And they settled the Karvunska land. Archeological evidence about the earliest presence of Bulgarians in Dobrudja according to data from the settlement and the necropolis near Topola village, Kavarna region” determines the need of a general presentation of the results from the excavations from early medieval settlement near Topola village, Dobrudja region, which is also the subject of this publication. The border between the Medieval strata and the Antique strata has a thickness of about 0.20 – 0.30 m. There have been excavated 27 habitat structures, from which 24 are semisubterranean and 3 above ground. The discovered materials (ceramics, tools, ribs of spindle, weights of fish-net, and bone awls) represent the livelihood of the inhabitants which was agriculture, animal husbandry, hunting and fishing. The settlement was also a center of specialized ceramic production which is evident from the discovered four pottery kilns.  In addition to the artisan appearance are present also the facts of iron crafting. The vertical stratigraphy shows at least two phases of the existence of the settlement near Topola village. From the early phase dating basically from the end of 7th – 9th centuries we can relay the pottery kilns and most of the habitat structures. After a brief interruption in the 9th century, the life in the settlement has regenerated which is evident from the pottery fragments and the clay vessels from the glazed ceramics. This phase is well dated also from the only medieval coin of Konstantin VII and Zoe from the year 919. The end of the settlement is dated somewhat in 10th century, which is evident from the lack of the typical materials for the 11th century, connected to the pechenegues  (clay cauldrons of the II type,  amulets-pendants) and coins class А2, found in all settlements from the 11th century. The discovery of the 623 graves in the necropolis of the settlement raises the question about the actual area of the settlement. The excavated habitats are extremely small number compared to the size of the necropolis. This is one of the reasons to continue to work in this archeological research.

All the architectural elements of a medieval temple, like itself, are common symbolic space where all details represent the idea of God and face either the faithful or to the Creator himself. And in this system are not the masters of mosaic floors Cosmati alien element - in fact, it is nothing like prayer, created in stone, but the prayer of living presented in the complex language of mosaic figures of Christian imagery. In the article on the example of the Roman basilica of Santa-Maria-Maggiore are considered rich semiotic cosmatesque opportunity to express ideas and concepts of his age. Author restores the value style characters, based on the texts of the era and the reconstruction of views of the Middle Ages made by historians of art and religion.
Keywords: intercultural communication, semiotics, semantics, cosmatesque, Cosmati master, mosaic, mosaicists, masons, medieval Italy, Rome, Basilica of Santa Maria Maggiore, Christianity, Catholicism, religion, symbolism, history of art.

Все архитектурные элементы в средневековом храме, как и он сам, являются единым символическим пространством, где все детали репрезентируют идею Бога и обращены либо к верующим, либо к Создателю непосредственно. И в этой системе мозаичные полы мастеров Космати не являются чуждым элементом – по сути, это не что иное, как молитва, созданная в камне, но при этом молитва живая, представленная сложным языком в мозаичных рисунках христианских образов. В статье на примере римской базилики Санта-Мария-Маджоре рассматриваются богатые семиотические возможности косматеско в выражении идей и представлений своего века. Автор восстанавливает значение символов стиля, опираясь на тексты эпохи и реконструкцию воззрений Средневековья, сделанную историками искусства и религии.

DOI: http://dx.doi.org/10.17759/langt.2016030305

Cosmatesque style mosaic is not only the decorative ornament that has decorated medieval temples; it is the developed symbolical system, which represents religious concepts and ideas of a universe structure. Cosmatesque structure includes hierarchy of levels that is similar to phonetic, lexical and grammatical levels of language in its functions. Figures of this style can be include in composition, structurally and functionally corresponding to the sentences and texts developing in a narrative. This article to analyse Cosmatesque syntax and interpretation of concepts of craftsmen Cosmati, on the example of Basilica of Santa Maria Maggiore in Rome. The author of this article assumes that the basilica floor represents the Christological cycle made of plots of the New Testament. Nevertheless, as at that time there was a ban on images of the Scripture Christological cycle is presented by symbolical design of craftsmen Cosmati.

The frescos of the medieval Gozzo Palace in Krems depict in particularly vivacious colors the legend of Barlaam and Joasaph, well known in Europe since antiquity. Together with the so-called "Ywain frecos" in Schmalkalden, they represent the only surviving mural art north of the Alps. The literary scenes realized in these murals depart from the conventional forms of visualization implemented in the religious art of that period. These high-quality frescos furthermore distinguish themselves as a significant innovation both in the traditional repertoire of images, as well as in the iconographic skills common to transalpine Europe in the 13th c.
What makes them unique is their early artistic interpretation of a literary work. Their scheme is closely based on literary and iconographic references, while the murals clearly demonstrate the commissioner´s wish of both representative self-portrayal and the visualization of concrete literary motifs.

Генезис архитектурного образа ранней готики рассматривается при помощи иеротопической методологии. В иеротопии создание и восприятие сакральных пространств анализируется путём выделения их ключевых образов, так называемых образов-парадигм. Для средневекового христианского храма важнейшим образом-парадигмой был образ Небесного Иерусалима. Основной тезис статьи: при переходе от романики к готике произошла модернизация этого образа, впитавшего и сублимировавше-го как внешние черты, так и дух средневекового города. Городской принцип единства в многообразии воплотился в линейной сложносоставной структурности новой архитектуры. На примере первого готического проекта в Сен-Дени обсуждается мотивация творцов нового стиля, сопоставляются византийское и западное понимание иконического и выявляются особенности готической эстетики.
This paper studies the iconicity of Gothic cathedrals using the hierotopic methodology developed by Alexei Lidov. The genesis of early Gothic church architecture is viewed as a newly emergent type of a sacred space, distinct from that of the preceding Romanesque period. Hierotopy analyzes the creation of sacred spaces in terms of " image-paradigms " , or guiding image-visions, which both give form to the sacral ensemble as a whole and encapsulate its central meaning. The image-paradigm of Heavenly Jerusalem, as often associated with medieval cathedrals, occupies the central focus of the paper. I examine three principal sources of influence at work in the Gothic revision

Este paper se propoe a analisar sete iluminuras que possuem como tema o episodio da Anunciacao do anjo Gabriel a Virgem Maria e que estao presentes em Livros de Horas confeccionados na segunda metade do seculo XV. Estes codices encontram-se atualmente na Biblioteca Nacional do Rio de Janeiro. Neste sentido, objetiva-se explicar o simbolismo presente nas imagens e as possiveis funcoes das iluminuras. Assim como destacar o papel primordial que o culto mariano assumiu na Baixa Idade Media e as transformacoes iconograficas da cena da Encarnacao de Cristo ao longo do medievo.

« Ymaginier », « tailleur d’image de bois et de pierre » ou « peintre»  sont très présents dans les sources rouennaises du XVe siècle. Ces sources nombreuses nous permettent d’en savoir plus sur les créateurs, leurs conditions de travail et le coût de la création.

ICONE PAGANE E CRISTIANE NELLA TERRA DEI FARAONI
ORIGINI E AFFINITÀ
di Paolo Fundarò

Nel vasto mare del Fayyum, lo storico dell’arte può riflettere e indagare non solo i rapporti culturali e la pittura greco-romana con quella dell’antico Egitto attraverso i ritratti di mummie; ma ripercorrere le origini delle più antiche icone cristiane. “Eikon” è un termine greco che indica in senso storico-artistico un pannello di legno con un soggetto sacro destinato al culto.

The article is devoted to the problem of representation of the Lord’s image (Trinity) in the twelfth- century
iconographic program for the west faзade of the Saint-Denis abbey church - the first monument of the Gothic
epoch. The author analyzes the iconographic decision of the Christ’s image of the central portal on the west
facade and states the hypothesis about the ways of creation of this iconography. The author also shows, that
the creation of this image is the Suger’s original contribution to the process of developing of the Trinity
iconography.