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This volume aims to broaden and nuance knowledge about the history, art, culture, and heritage of Eastern Europe relative to Byzantium. From the thirteenth century to the decades after the fall of Constantinople in 1453, the regions of the Danube River stood at the intersection of different traditions, and the river itself has served as a marker of connection and division, as well as a site of cultural contact and negotiation. The Routledge Handbook of Byzantine Visual Culture in the Danube Regions, 1300–1600 brings to light the interconnectedness of this broad geographical area too often either studied in parts or neglected altogether, emphasizing its shared history and heritage of the regions of modern Greece, Croatia, Serbia, Bulgaria, Romania, Hungary, Slovakia, and Czechia. The aim is to challenge established perceptions of what constitutes ideological and historical facets of the past, as well as Byzantine and post-Byzantine cultural and artistic production in a region of the world that has yet to establish a firm footing on the map of art history. The 24 chapters offer a fresh and original approach to the history, literature, and art history of the Danube regions, thus being accessible to students thematically, chronologically, or by case study; each part can be read independently or explored as part of a whole.
Explores the problems for studying art and religion in Eurasia arising from ancestral, colonial and post-colonial biases in historiography.
Late Antique artefacts, and the images they carry, attest to a highly connected visual culture from ca. 300 to 800 C.E. On the one hand, the same decorative motifs and iconographies are found across various genres of visual and material culture, irrespective of social and economic differences among their users – for instance in mosaics, architectural decoration, and luxury arts (silver plate, textiles, ivories), as well as in everyday objects such as tableware, lamps, and pilgrim vessels. On the other hand, they are also spread in geographically distant regions, mingled with local elements, far beyond the traditional borders of the classical world. At the same time, foreign motifs, especially of Germanic and Sasanian origin, are attested in Roman territories. This volume aims at investigating the reasons behind this seemingly globalised visual culture spread across the Late Antique world, both within the borders of the (former) Roman and (later) Byzantine Empire and beyond, bringing together diverse approaches characteristic of different national and disciplinary traditions. The presentation of a wide range of relevant case studies chosen from different geographical and cultural contexts exemplifies the vast scale of the phenomenon and demonstrates the benefit of addressing such a complex historical question with a combination of different theoretical approaches.
Publikace „Work in Progress“ představuje příspěvky doktorských studentů Semináře dějin umění FF MU v Brně, zaměřené na umění od středověku po současnost.
A Companion to the Medieval Papacy brings together an international group of experts on various aspects of the medieval papacy. Each chapter provides an up-to-date introduction to and scholarly interpretation of topics of crucial importance to the development of the papacy’s thinking about its place in the medieval world and of its institutional structures. Topics covered include: the Papal States; the Gregorian Reform; papal artistic self-representation; hierocratic theory; canon law; decretals; councils; legates and judges delegate; the apostolic camera, chancery, penitentiary, and Rota; relations with Constantinople; crusades; missions. The volume includes an introductory chapter by Thomas F.X. Noble on the historiographical challenges of writing medieval papal history. Contributors are: Sandro Carocci, Atria A. Larson, Andrew Louth, Jehangir Malegam, Andreas Meyer, Harald Müller, Thomas F.X. Noble, Francesca Pomarici, Rebecca Rist, Kirsi Salonen, Felicitas Schmieder, Keith Sisson, Danica Summerlin, and Stefan Weiß.
This collection examines how the Society of Jesus used art and architecture in its missionary efforts in the Lands of the Bohemian Crown from the sixteenth century to the eighteenth. The Jesuits used a variety of visual media to re-invigorate the cult of miraculous images, saints, and local Catholic customs in the Central European region, where a tradition of religious dissent went back to the legendary Hussites of the 15th century. Jesuit art is seen as resulting from the transfer, local adaptation, and visualization of ideas about image theology, the order's global mission, its self-promotion, and the construction of the religious past. Examining the architecture, statues, images, murals, and decorative programs of Jesuit complexes and other visual media (devotional prints, medieval images), the essays here demonstrate how the Jesuit Order cultivated the subjects and functions of art to promote concepts of Catholic piety as they grew into one of the most successful agents of Catholic Reform in the Bohemian kingdom.
This collection explores multiple artefactual, visual, textual and conceptual adaptations, developments and exchanges across the medieval world in the context of their contemporary and subsequent re-appropriations.
Mindful of already existing publications, the editors determined to foreground scholarly expertise and approaches to stained glass, as well as up-to-date bibliographies.