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With absorbing prose and detailed images, Stephen Fliegel unlocks the secrets of these sacred objects and portrays medieval Christian believers as souls kindred to us-humans striving in their own time to discern and preserve religious meaning and decorum. Fliegel provides a rich understanding of the allegorical images that helped the church to communicate to the faithful through visual narrative and also provides a rich, textured understanding of sacred art and architecture.
Sacred Meaning in the Christian Art of the Middle Ages. .
Titus Burckhardt was a renowned expert on the art of traditional worlds. This book takes the reader through the history of Christian art, focusing especially upon architecture, iconography, and illumination.
The articles published in this volume aim to contribute to the art historical debates on the role of visual culture within medieval rituals and how the latter were experienced bodily. The studies focus on the essential importance of movement within medieval religious practice and its impact on production, conception, perception, and use of artistic objects and architecture in the Middle Ages. At their core is the moving body, individual or collective, which enters into dialogue with the surrounding architectural or urban space, artefacts, and images, thus awakening their sacred potential with each and every step. Shifting attention to the movement of the worshipers and the objects themselves, this book wishes to instigate further discussion on various medieval visual cultures.
Robert Couzin’s Right and Left in Early Christian and Medieval Art provides the first in-depth study of handedness, position, and direction in the visual culture of Europe and Byzantium from the fourth to the fourteenth century.
This volume provides an overview of the history and significance of Christian art in the Middle Ages. It includes discussions of iconography, symbolism, and artistic techniques, as well as examples of medieval Christian art from throughout Europe. It is a valuable resource for scholars of art history and religious studies. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Offering original analysis of the convergence between 'sacred' and 'secular' in medieval works of art and architecture, this collection explores both the usefulness and limitations of these terms for describing medieval attitudes. The modern concepts of 'sacred' and 'secular' are shown to be effective as scholarly tools, but also to risk imposing false dichotomies. The authors consider medieval material culture from a broad perspective, addressing works of art and architecture from England to Japan, and from the seventh to the fifteenth century. Although the essays take a variety of methodological approaches they are unified in their emphasis on the continuing and necessary dialectic between sacred and secular. The contributors consciously frame their interpretations in terms and perspectives derived from the Middle Ages, thereby demonstrating how the present art-historical terminology and conceptual frameworks can obscure the complexity of medieval life and material culture. The resonance among essays opens possibilities for productive cross-cultural study of an issue that is relevant to a diversity of cultures and sub-periods. Introducing an innovative approach to the literature of the field, this volume complicates and enriches our understanding of social realities across a broad spectrum of medieval worlds.