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In analyzing the early medieval architecture of Christian and Islamic Spain, Jerrilynn Dodds explores the principles of artistic response to social and cultural tension, offering an account of that unique artistic experience that set Spain apart from the rest of Europe and established a visual identity born of the confrontation of cultures that perceived one another as alien. Architecture and Ideology in Early Medieval Spain covers the Spanish medieval experience from the Visigothic oligarchy to the year 1000, addressing a variety of cases of cultural interchange. It examines the embattled reactive stance of Hispano-Romans to their Visigothic rulers and the Asturian search for a new language of forms to support a political position dissociated from the struggles of a peninsula caught in the grip of a foreign and infidel rule. Dodds then examines the symbolic meaning of the Mozarabic churches of the tenth century and their reflection of the Mozarabs' threatened cultural identity. The final chapter focuses on two cases of artistic interchange between Islamic and Christian builders with a view toward understanding the dynamics of such interchange between conflicting cultures. Dodds concludes with a short account of the beginning of Romanesque architecture in Spain and an analysis of some of the ways in which artistic expression can reveal the subconscious of a culture.
Mann examines how the financial patronage of newly empowered local rulers allowed Romanesque architecture and sculptural decoration to significantly redefine the cultural identities of those who lived in the frontier kingdoms of Christian Spain.
In this colorfully illustrated book, Rose Walker surveys Spanish and Portuguese art and architecture from the time of the Roman conquest to the early twelfth century. For generations, scholarly discussions of such art have been complicated by a focus on maps of the pilgrimage roads and images of the Reconquista. Walker contextualizes these aspects by bringing together an exceptionally diverse range of academic studies, including work previously familiar only to Hispanophone audiences. By breaking down chronological, regional, and disciplinary divides that have limited scholarship on the subject for decades, this book enriches the wider English-language literature on early medieval art.
* Provides a deeper, long-term understanding of the nation and its people * Designed to supplement the "usual suspect" guide books A guidebook can show you where to go, a phrasebook what to say when you get there. Only Speak the Culture: Spain will lead you to the nation's soul. Spain boasts a rich and sometimes misunderstood culture, itself infused with the influences of other great and distant civilizations. Spanish life, language and culture in its widest sense is a major force of growing influence. How many outside it understand its origins and significance? Through exploring the people, the movements and the lifestyles that have shaped the Spanish experience, you will come to an intimate understanding of Spain and the Spanish. There are many travel guides and manuals on living in Spain. Speak the Culture: Spain is different: a superbly designed, informed and entertaining insight into Spanish life and culture and who the Spanish really are. For new residents, business travelers, holidaymakers, students and lovers of Spain everywhere, Speak the Culture: Spain is an engaging companion and guide to an enviably rich civilization at the heart of Europe. Excerpt "As you might expect Spain's traditional vernacular architecture isn't easily pigeonholed; regionalism generates marked variation. Available building materials and, more significantly, climate have always dictated how people build their houses or outbuildings. The Spaniards' approach to living arrangements is more easily summed up. They're nothing if not sociable; while northern Europeans anxiously section off their own plot of terra firma, in Spain they seem to enjoy living on top of each other, clustered in apartments and houses around the plaza mayor. It's not like they're short of space either--a population density of around 85 per sq km is one of the lowest in Europe."
This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.
The nineteen papers collected in this volume explore a notable phenomenon, that of retrospection in the art and architecture of Romanesque Europe. They arise from a conference organized by the British Archaeological Association in 2010, and reflect its interest in how and why the past manifested itself in the visual culture of the 11th and 12th centuries. This took many forms, from the casual re-use of ancient material to a specific desire to re-present or emulate earlier objects and buildings. Central to it is a concern for the revival of Roman and early medieval forms, spolia, selective quotation, archaism and the construction of histories. The individual essays presented here cover a wide range of topics and media: the significance of consecration ceremonies in the creation of architectural memory, the rise of pictorial concepts in 12th-century chronicles, the creation of history in the Paris of Hugh of St-Victor, and the appeal of the works of Bernward of Hildesheim and of Hrabanus Maurus in the centuries after their deaths. There are studies of buildings and the ideological purpose behind them at Tarragona, Ripoll, Cluny, Pannonhalma (Hungary), La Roccelletta (Calabria), and Old St Peter's, comparative studies of Trier, Villenauxe and Glastonbury, and of Bury St Edmunds, Rievaulx and Canterbury, and wide-ranging papers on the tantalizing evidence for an engagement with an overseas past in Ireland, an Anglo-Saxon past in England, and a Milanese past among the aisleless cruciform churches of Augustinian Europe. The volume concludes with an assessment of the very concept of Romanesque.