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Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500-1700 examines the related themes of lovemaking and image-making in the visual arts of Europe, China, Japan, and Persia. The term ‘reflexive’ is here used to refer to images that invite reflection not only on their form, function, and meaning, but also on their genesis and mode of production. Early modern artists often fashioned reflexive images and effigies of this kind, that appraise love by exploring the lineaments of the pictorial or sculptural image, and complementarily, appraise the pictorial or sculptural image by exploring the nature of love. Hence the book’s epigraph—ut pictura amor—‘as is a picture, so is love’.
This volume contains twenty-four essays, which, in their subjects and methodology, pay tribute to the scholarship of Walter S. Melion. The contributions are grouped under three categories: “Devotion,” “Art and Image Theory,” and “Vision and Contemplation.” The Devotion section addresses votive practices, theological theory and polemic literature. The Art and Image Theory section focuses on Jesuit image theory, the reflexive dimension of works, and artists’ reflections on the function of images. Finally, the Vision and Contemplation section discusses the ‘early modern eye’ as a tool for thoughtful, prolonged looking to ascertain visual wit, deception, self-assessment and friendship, sacred and profane allegories.
At the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history. Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov.
Drawing on recent research by established and emerging scholars of sixteenth- and seventeenth-century art, this volume reconsiders the art and architecture produced after 1563 across the conventional geographic borders. Rather than considering this period a degraded afterword to Renaissance classicism or an inchoate proto-Baroque, the book seeks to understand the art on its own terms. By considering artists such as Federico Barocci and Stefano Maderno in Italy, Hendrick Goltzius in the Netherlands, Antoine Caron in France, Francisco Ribalta in Spain, and Bartolomeo Bitti in Peru, the contributors highlight lesser known "reforms" of art from outside the conventional centers. As the first text to cover this formative period from an international perspective, this volume casts new light on the aftermath of the Renaissance and the beginnings of "Baroque."
Visualizing Sensuous Suffering and Affective Pain in Early Modern Europe and the Spanish Americas is a trans-cultural collection of studies on visual treatments of the phenomena of suffering and pain in early modern culture. Ranging geographically from Italy, Spain, and the Low Countries to Chile, Mexico, and the Philippines and chronologically from the fourteenth to the eighteenth centuries, these studies variously consider pain and suffering as somatic, emotional, and psychological experiences. From examination of bodies shown victimized by brutal public torture to the sublimation of physical suffering conveyed through the incised lines of Counter-Reformation engravings, the authors consider depictions of pain and suffering as conduits to the divine or as guides to social behaviour; indeed, often the two functions overlap.
Traces the emergence of literary history, showing how Iranians and South Asians drew from their shared heritage to produce a 'Persianate modernity'.
The Making of A Modern Art World explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai’s art world. Using guohua as the point of entry, this book interrogates the discourse both of guohua itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of ‘art world’, this book contextualizes guohua through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.
"This collection of essays invites the contemporary reader to consider the works of Pedro Calderon de la Barca (1600-81), who became the most important and influential dramatist of the second period of the Spanish Golden Age, just as Lope de Vega (1562-1635) was for the preceding generation. A follower of Lope in his youth, Calderon, as a mature playwright, developed a drama all of his own, a drama that was highly conceptual, tightly knit, symbolic, and, in many cases, spectacular. Calderon's artistry in verbal and visual symbolism made the performance of his works a feast for both the senses and the intellect." "Until now, many of Calderon's critics have focused their attention on how the poetic devices, particularly metaphors and symbols, appearing in his plays represent his philosophy or his ideas. But as some scholars of Spanish Golden Age drama have argued, the study of Calderon's theater must take into account not only the literary text, but also the physical conditions of the stage, the elements used in the representation - decor, costumes, lighting, music - and the house dynamics at each performance. In other words, each play must be considered as a composition of the soul and body, of poetry and spectacle, in which both elements support, complement, and explain one another in performance." "This is the task that has been undertaken by the contributors to this volume. By focusing on the relationship between text and performance, they have highlighted several areas that are often overlooked in traditional text-based approaches. From different perspectives, they show how Calderon gives concrete shape to the concepts and tales from the Bible, theology, mythology, the Corpus Hermeticum, emblematic literature, philosophy, and realities of civic and domestic origin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved