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In this study, originally published in Norway as Fra Principat Til Dominat, Professor L'Orange sets down the essence of his thought on the crucial period of transition from decentralization to standardization in civic and cultural life-a period not unlike our own.
It has long been an accepted assumption that the abstracted mode of visual representation that emerged in late antiquity reflected a collective shift from the outer-directed and ’material’ world-view of classical antiquity to an inner-directed, ’spiritual’ mentality informed by Christianity: the purpose of this volume is to offer a more nuanced and diverse image of the nature and meanings of abstraction and symbolism in late antique and early medieval art, beyond normative intepretation models, and from a number of different methodological and interpretative perspectives. In ten chapters, ten authors specialised in various fields of late-antique and Byzantine art explore the historiographical background of the ’spiritual’ interpretation paradigm, neuroscientific and theological dimensions of Christian visual aesthetics, meanings and motive factors behind apparently wholly abstract and aniconic compositions, symbolic motifs and schemes for visualising cosmic order and the cosmic state of Christ, and the re-use of symbolic Greco-Roman themes in Christian contexts. The result is a multi-focal image of late antique abstraction and symbolism that illuminates the heterogeneity and complexity of the phenomena and of their study.
This richly illustrated book presents a history of Egyptian late antique–early Byzantine (Coptic) art in its international stylistic, social and intellectual context.
This survey of over a thousand years of Western art and architecture, from ancient Rome to the age of exploration, introduces the reader to a period of extraordinary historical and geographical extent. The monumental arts of architecture and sculpture and the diverse minor arts of the Middle Ages are presented here within social, religious, political, and intellectual framework of lands as varied as France and Denmark, Spain and Germany. Medieval Art covers all the major monuments, describing each important work clearly and in detail. Marilyn Stokstad's descriptions are sensitive and articulate, giving the reader a sense of the beauty of the work. They also teach the reader how to look at medieval art—which aspects of architecture, sculpture, or painting are important and for what reasons. Stylistic and iconographic issues and themes are dealt with clearly, and the author presents medieval art in an aesthetic and social context so that it can be fully understood and appreciated. The book consists of twelve chapters and covers the period from the second to the fifteenth centuries.
Each number includes "Reviews and book notices."