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Urnes is the oldest and best known of the Norwegian stave churches. Despite its rich sculptural program, complex building history, fine medieval furnishings, and UNESCO World Heritage Site status, Urnes has attracted scant scholarly attention beyond Scandinavia. Broadly speaking, the church has been seen to exemplify Nordic traditions, a view manifest in the frequent use of "Urnes style" to designate the final phase of Viking art. While in no way denying or diminishing the importance of local or regional traditions, this book examines Urnes from a global perspective, considering how its art and architecture engaged international developments from across Europe, the Mediterranean, and Central Asia. In adopting this alternative approach, the articles collected in this volume offer the most current research on Urnes, published in English to reach a broad audience. The aim is to reinvigorate academic interest and debate in not only what is one of the most important churches in the world, but also in the rich cultural heritage of Northern Europe.
From ancient Chinese civilization to the postmodern world Organized along a global timeline, A Global History of Architecture presents an innovative approach to the study of architectural history. Spanning from 3,500 B.C.E. to the present, this unique guide is written by an all-star team of architectural experts in their fields who emphasize the connections, contrasts, and influences of architectural movements throughout history. The architectural history of the world comes to life through a unified framework for interpreting and understanding architecture, supplemented by rich drawings from the renowned Frank Ching as well as brilliant photographs. Architecture and art history enthusiasts will find A Global History of Architecture perpetually at their fingertips.
Vol. for 1971 contains papers presented at the 1st International Symposium for Ethnological Food Research in Lund, 1970.
Medieval cathedrals and the various practices connected to them form an important and complex part of the European cultural heritage. The buildings themselves and their reception into the modern arts ensure their presence within today's cultural memories and sensibilities. In the mid-twelfth century, a new archbishop's seat was erected in the Norwegian city of Trondheim (or Nidaros) at the far north of Europe. This interdisciplinary volume, written by scholars of history, architecture, and liturgy, explores the medieval cathedral of Trondheim as a local construction in a European context. As a see of the Western Church, it was set in an international Latinate culture. At the same time, the construction of the building itself and the ritual practices in and around it were influenced by local political, religious, and cultural conditions. The relationship between the physical construction of a cathedral and its function in medieval liturgical and other ritual practices is a topic of wide relevance for architectural and liturgical scholarship. The so-called Ordo Nidrosiensis, the thirteenth-century ordinal of the Province of Nidaros, is an immense help in interpreting the architectural construction and sacred space of Nidaros Cathedral and the Ordo is dealt with in many of the articles. In accordance with general medieval practice, the Nidaros ordinal may be described as international in contents but edited with regard to local considerations.
This important and overdue book examines illuminated manuscripts and other book arts of the Global Middle Ages. Illuminated manuscripts and illustrated or decorated books—like today’s museums—preserve a rich array of information about how premodern peoples conceived of and perceived the world, its many cultures, and everyone’s place in it. Often a Eurocentric field of study, manuscripts are prisms through which we can glimpse the interconnected global history of humanity. Toward a Global Middle Ages is the first publication to examine decorated books produced across the globe during the period traditionally known as medieval. Through essays and case studies, the volume’s multidisciplinary contributors expand the historiography, chronology, and geography of manuscript studies to embrace a diversity of objects, individuals, narratives, and materials from Africa, Asia, Australasia, and the Americas—an approach that both engages with and contributes to the emerging field of scholarly inquiry known as the Global Middle Ages. Featuring more than 160 color illustrations, this wide-ranging and provocative collection is intended for all who are interested in engaging in a dialogue about how books and other textual objects contributed to world-making strategies from about 400 to 1600.
If you care for the truth then prepare for a journey through murder, mystery and intrigue, the likes of which the world rarely sees.
A celebration of the visual contributions of the bestiary--one of the most popular types of illuminated books during the Middle Ages--and an exploration of its lasting legacy. Brimming with lively animals both real and fantastic, the bestiary was one of the great illuminated manuscript traditions of the Middle Ages. Encompassing imaginary creatures such as the unicorn, siren, and griffin; exotic beasts including the tiger, elephant, and ape; as well as animals native to Europe like the beaver, dog, and hedgehog, the bestiary is a vibrant testimony to the medieval understanding of animals and their role in the world. So iconic were the stories and images of the bestiary that its beasts essentially escaped from the pages, appearing in a wide variety of manuscripts and other objects, including tapestries, ivories, metalwork, and sculpture. With over 270 color illustrations and contributions by twenty-five leading scholars, this gorgeous volume explores the bestiary and its widespread influence on medieval art and culture as well as on modern and contemporary artists like Pablo Picasso and Damien Hirst. Published to accompany an exhibition on view at the J. Paul Getty Museum at the Getty Center May 14 to August 18, 2019.
G. Ronald Murphy offers an insightful examination of the lasting significance of Yggdrasil in northern Europe, showing that the tree's image persisted not simply through its absorption into descriptions of Christ's crucifix, but through recognition by the newly converted Christians of the truth of their new religion in the images of their older faith.
In this book Allan Doig explores the interrelationship of liturgy and architecture from the Early Church to the close of the Middle Ages, taking into account social, economic, technical, theological and artistic factors. These are crucial to a proper understanding of ecclesiastical architecture of all periods, and together their study illuminates the study of liturgy. Buildings and their archaeology are standing indices of human activity, and the whole matrix of meaning they present is highly revealing of the larger meaning of ritual performance within, and movement through, their space. The excavation of the mid-third-century church at Dura Europos in the Syrian desert, the grandeur of Constantine's Imperial basilicas, the influence of the great pilgrimage sites, and the marvels of soaring Gothic cathedrals, all come alive in a new way when the space is animated by the liturgy for which they were built. Reviewing the most recent research in the area, and moving the debate forward, this study will be useful to liturgists, clergy, theologians, art and architectural historians, and those interested in the conservation of ecclesiastical structures built for the liturgy.