Late Antique and Medieval Art of the Mediterranean World / Edition 1

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Overview

This comprehensive anthology offers a new approach to the visual arts classified as Early Christian-Syzantine. It creates an integrated study of the art and culture in the lands surrounding the Mediterranean from late-antiquity through medieval times (3rd to 13th centuries CE), bringing together material that routinely had been separated by labels such as "Early Christian," "Byzantine," "Romanesque," and "Islamic." Beginning with a thorough introduction that maps the late antique and medieval Mediterranean world, this volume, includes-an extensive range of pertinent topics, from the effect that converging cultures in late antiquity had an art, to the cultural identities that can be observed by looking at difference of tradition in visual art, and to the variance of illuminations in holy books. The result is a valuable anthology that explores the historical, geographical, and cultural interactions in the visual arts of this period, rethinking the classifications in late antique, medieval, and Mediterranean art.
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Editorial Reviews

From the Publisher

"This volume brings together with much intelligence key essays from across the fields of Ancient, Late Antique, Early Christian, Byzantine, Medieval, and Islamic art and architecture." (David Roxburgh, Harvard University)

"This is a very useful volume of important papers by scholars working on all the different cultures that surrounded the Mediterranean from Late Antiquity on, and juxtaposes them to shed light on their complex interactions and interdependence." (Tony Eastmond, University of Courtauld)

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Product Details

Meet the Author

Eva R. Hoffman is Associate Professor and Faculty Coordinator for World Art Surveys at Tufts University.

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Table of Contents


List of Illustrations     ix
Series Editor's Preface     xii
Preface and Acknowledgments     xiii
Acknowledgments to Sources     xv
Introduction: Remapping the Art of the Mediterranean     1
Late Antiquity: Converging Cultures, Competing Traditions. Pagan, Jewish, Christian, and Sasanian Art     9
The Changing Nature of Roman Art and the Art-Historical Problem of Style   Jas Elsner     11
Good and Bad Images from the Synagogue of Dura Europos: Contexts, Subtexts, Intertexts   Annabel Jane Wharton     19
Exotic Taste: The Lure of Sasanian Persia   Anna Gonnosova     40
Dionysiac Motifs   Richard Ettinghausen     47
Continuities: Tradition and Formation of Cultural Identities     61
The Good Life   Henry Maguire     63
Hellenism and Islam   G. W. Bowersock     85
The Draped Universe of Islam   Lisa Golombek     97
Image and Word: Early Medieval, Byzantine, and Islamic Art     115
The Beginnings of Biblical Illustration   John Lowden     117
Sacred Image, Sacred Power   Gary Vikan     135
The Umayyad Dome of the Rock in Jerusalem   Oleg Grabar     147
The Image of the Word: Notes on the Religious Iconography of Islam   Erica Cruikshank Dodd     185
Islam, Iconoclasm, and the Declaration of Doctrine   G. R. D. King     213
Local Syncretistic Traditions: Jews, Muslims, and Christians     227
Hebrew Book Illumination in the Fatimid Era   Rachel Milstein     229
An Icon at Mt. Sinai and Christian Painting in Muslim Egypt during the Thirteenth and Fourteenth Centuries   Robert S. Nelson     242
Luxury Arts and the Representation of the Court     271
The Cup of San Marco and the "Classical" in Byzantium   Ioli Kalavrezou     273
Images of the Court   Henry Maguire     285
But Is It Art?   Robin Cormack     301
Expanding Boundaries: Spain, Sicily, Venice, and Beyond     315
Pathways of Portability: Islamic and Christian Interchange from the Tenth to the Twelfth Century   Eva R. Hoffman     317
Islam, Christianity, and the Problem of Religious Art   Jerrilynn D. Dodds     350
The Medieval Object-Enigma, and the Problem of the Cappella Palatina in Palermo   William Tronzo     367
Venice and Islam in the Middle Ages: Some Observations on the Question of Architectural Influence   Deborah Howard      389
Index     405
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