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This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents. The role of human actors proves particularly prominent, i.e. the circumstances that informed creators’, producers’, owners’ and beholders’ motivations and responses. Certainly, such a complex relationship between things, people and images is not an exclusive feature of the pre-modern period’s print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms and thus provides a fruitful point of departure for further study of the development of the various functions and responses to printed images in the sixteenth century. The book will be of interest to scholars working in art history, print history, book history and European studies. The introduction of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license at https://www.taylorfrancis.com/chapters/oa-edit/10.4324/9781003029199-1/introduction-gra%C5%BCyna-jurkowlaniec-magdalena-herman?context=ubx&refId=b6a86646-c9f3-490d-8a06-2946acd75fda
This book examines the early development of the graphic arts from the perspectives of material things, human actors and immaterial representations while broadening the geographic field of inquiry to Central Europe and the British Isles and considering the reception of the prints on other continents. The role of human actors proves particularly prominent, i.e. the circumstances that informed creators', producers', owners' and beholders' motivations and responses. Certainly, such a complex relationship between things, people and images is not an exclusive feature of the pre-modern period's print cultures. However, the rise of printmaking challenged some established rules in the arts and visual realms and thus provides a fruitful point of departure for further study of the development of the various functions and responses to printed images in the sixteenth century. The book will be of interest to scholars working in art history, print history, book history and European studies. Chapter # of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license at https: //tandfbis.s3-us-west-2.amazonaws.com/rt-files/docs/Open+Access+Chapters/9780367465117_oaintroduction.pdf
This volume offers the user a guide to the neglected field of how-to books. How do I make soap? How do I dye textiles? What ingredients do I need for a effective remedy? How can one find and mine mineral resources, how does one make pewter cups or a good meal? Practical information of this kind, on distillation, medicine, dyeing, cosmetics, glassmaking, ceramics, metallurgy and many other subjects, flooded the book market in the first centuries of printing. As varied as these subjects are the research questions that we might ask: How do you learn practical skills from a book? Why were these books so popular, who used them and how, and can they even be considered to be a clearly defined genre? The aim of this volume, which emerged from a conference at the Herzog August Bibliothek Wolfenbüttel, is to find out which patterns characterise the genre of how-to books or “Rezepte-Büchlein”. It also aims to contribute to the clarification of terms for a genre, that operates under labels such as “Books of Secrets” and "recipe books" or, in German-speaking countries, "Kunst- und Wunderbuch" or “nützlich büchlein”. Some key issues addressed in the book include the traces of book use, the media shift from manuscript to print, the interaction between text and image, and the praxeological dimension of practical books. Self-help literature not only made it possible for interested laypersons to obtain information from all possible fields of knowledge, largely independent of institutional and educational environments; as "tracts for action" they differed from other genres in that they were consistently oriented towards implementation.
'The Open Access publishing costs of this volume were covered by the Dutch Research Council (NWO), Veni-project “Leaving a Lasting Impression. The Impact of Incunabula on Late Medieval Spirituality, Religious Practice and Visual Culture in the Low Countries” (grant number 275-30-036).' This volume explores various approaches to study vernacular books and reading practices across Europe in the 15th-16th centuries. Through a shared focus on the material book as an interface between producers and users, the contributors investigate how book producers conceived of their target audiences and how these vernacular books were designed and used. Three sections highlight connections between vernacularity and materiality from distinct perspectives: real and imagined readers, mobility of texts and images, and intermediality. The volume brings contributions on different regions, languages, and book types into dialogue. Contributors include Heather Bamford, Tillmann Taape, Stefan Matter, Suzan Folkerts, Karolina Mroziewicz, Martha W. Driver, Alexa Sand, Elisabeth de Bruijn, Katell Lavéant, Margriet Hoogvliet, and Walter S. Melion.
Providing a comprehensive and engaging account of personal unions, composite monarchies and multiple rule in premodern Europe: Unions and Divisions. New Forms of Rule in Medieval and Renaissance Europe uses a comparative approach to examine the phenomena of the medieval and renaissance unions in a pan-European overview. In the later Middle Ages, genealogical coincidences led to caesuras in various dynastic successions. Solutions to these were found, above all, in new constellations which saw one political entity becoming co-managed by the ruler of another in the form of a personal union. In the premodern period, such solutions were characterised by two factors in particular: on the one hand, the entry of two countries into a union did not constitute a military annexation — even though claims to the throne were all too often imposed by force; on the other hand, the new unitarian constellation retained, at least de jure, the independence of its respective components. The twenty-four essays, ranging in scope from Scandinavia to Iberia, from England and France to Central and Eastern Europe, examine whether the respective unions were the result of careful planning and deliberations in the face of a long-foreseen succession crisis or whether they emerged from dynamic developments that were largely reactive and dependent upon various random factors and circumstances. Each union is assessed to provide an understanding, for students and researchers, of the political and social forces involved in the respective countries and investigates how the unions were reflected in contemporary literature (pamphlets, memoranda, chronicles, diaries etc.), propaganda and in legal and historical discourses. This volume is essential reading for students and researchers interested in the history of monarchy, political history and social and cultural histories in premodern Europe.
Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways?both positive and negative?was quickly realized.
This book examines the agrarian labor genre paintings based on the Pictures of Tilling and Weaving that were commissioned by successive Chinese emperors. Furthermore, this book analyzes the genre’s imagery as well as the poems in their historical context and explains how the paintings contributed to distinctively cosmopolitan Qing imagery that also drew upon European visual styles. Roslyn Lee Hammers contends that technologically-informed imagery was not merely didactic imagery to teach viewers how to grow rice or produce silk. The Qing emperors invested in paintings of labor to substantiate the permanence of the dynasty and to promote the well-being of the people under Manchu governance. The book includes English translations of the poems of the Pictures of Tilling and Weaving as well as other documents that have not been brought together in translation. The book will be of interest to scholars working in art history, Chinese history, Chinese studies, history of science and technology, book history, labor history, and Qing history.
Although it is fashionable among modernists to claim that globalism emerged only since ca. 1800, the opposite can well be documented through careful comparative and transdisciplinary studies, as this volume demonstrates, offering a wide range of innovative perspectives on often neglected literary, philosophical, historical, or medical documents. Texts, images, ideas, knowledge, and objects migrated throughout the world already in the pre-modern world, even if the quantitative level compared to the modern world might have been different. In fact, by means of translations and trade, for instance, global connections were established and maintained over the centuries. Archetypal motifs developed in many literatures indicate how much pre-modern people actually shared. But we also discover hard-core facts of global economic exchange, import of exotic medicine, and, on another level, intensive intellectual debates on religious issues. Literary evidence serves best to expose the extent to which contacts with people in foreign countries were imaginable, often desirable, and at times feared, of course. The pre-modern world was much more on the move and reached out to distant lands out of curiosity, economic interests, and political and military concerns. Diplomats crisscrossed the continents, and artists, poets, and craftsmen traveled widely. We can identify, for instance, both the Vikings and the Arabs as global players long before the rise of modern globalism, so this volume promises to rewrite many of our traditional notions about pre-modern worldviews, economic conditions, and the literary sharing on a global level, as perhaps best expressed by the genre of the fable.
This book argues that abbatial authority was fundamental to monastic historical writing in the period c.500-1500. Writing history was a collaborative enterprise integral to the life and identity of medieval monastic communities, but it was not an activity for which time and resources were set aside routinely. Each act of historiographical production constituted an extraordinary event, one for which singular provision had to be made, workers and materials assigned, time carved out from the monastic routine, and licence granted. This allocation of human and material resources was the responsibility and prerogative of the monastic superior. Drawing on a wide and diverse range of primary evidence gathered from across the medieval Latin West, this book is the first to investigate systematically how and why abbots and abbesses exercised their official authority and resources to lay the foundations on which their communities' historiographical traditions were built by themselves and others. It showcases them as prolific authors, patrons, commissioners, project managers, and facilitators of historical narratives who not only regularly put pen to parchment personally, but also, and perhaps more importantly, enabled others inside and outside their communities by granting them the resources and licence to write. Revealing the intrinsic relationship between abbatial authority and the writing of history in the Middle Ages with unprecedented clarity, Benjamin Pohl urges us to revisit and revise our understanding of monastic historiography, its processes, and its protagonists in ways that require some radical rethinking of the medieval historian's craft in communal and institutional contexts.