tag:blogger.com,1999:blog-50785777758071344232024-03-12T04:52:31.671+00:00Beyond BordersA Medieval History of Art Blog.Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.comBlogger70125tag:blogger.com,1999:blog-5078577775807134423.post-69051917237970349112015-01-19T14:46:00.000+00:002015-01-20T20:06:33.398+00:00The Trans-Medial Everyman - an Analysis of the Relationship Between Medievalism and Modernity<div align="JUSTIFY" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black;"><span style="background-color: transparent; font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;">The
</span></span><span style="font-size: small;"><span style="font-size: small;"><i>Trans-medial
Everyman</i></span></span><span style="font-size: small;"><span style="font-size: small;">
originated as part of the</span></span><span style="font-size: small;"><span style="font-size: small;">
</span></span><span style="font-size: small;"><span style="font-size: small;">advanced
module class “All the World’s a Stage,” in which my colleague Riad Nassar and I transformed the Middle English </span></span><span style="font-size: small;"><span style="font-size: small;"><i>Everyman</i></span></span><span style="font-size: small;"><span style="font-size: small;">
into a simultaneous theater and film production. Based on selected
results of this theater fieldwork, this paper </span></span><span style="font-size: small;"><span style="font-size: small;">will
question the relationship between medievalism and modernity.</span></span><span style="font-size: x-small;">[1]</span><span style="font-size: small;"> </span><span style="font-size: small;">I will
do this with a theoretical and historical approach based on Latour’s
critique of modernity, as well as with a synchronic approach based on
Garfinkel’s studies in ethnomethodology. Latour’s understanding
of modernity will serve as a model for my theoretical framework,
while Garfinkel’s study of everyday methods of organizing and
obtaining social order, will help to understand the working progress
of adapting a medieval play into a trans-medial stage performance.</span><span style="font-size: x-small;">[2]</span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><b><span style="background-color: transparent; font-family: inherit;">Latour’s
Notion of Modernity as Translation and Purification</span></b></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: small;">For
Latour, “the word modern designates two sets of entirely different
practices, which must remain distinct, if they are to remain
effective […].”</span><span style="font-size: x-small;">[3]</span><span style="font-size: small;"> These two practices are namely translation and purification.
</span><span style="font-size: small;"><u>Translation</u></span><span style="font-size: small;">
is the creation of mixtures between completely different types of
beings, hybrids of nature and culture.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote2sym" name="sdfootnote2anc"></a></sup><span style="font-size: x-small;">[4]</span> <span style="font-size: small;"><u>Purification</u></span><span style="font-size: small;">
on the other hand, is the creation of two completely separate
ontological zones, the separation between nature and culture.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote3sym" name="sdfootnote3anc"></a></sup><span style="font-size: x-small;">[5]</span><span style="font-size: small;"> To be wholly modern, we have to consider translation and purification
separately; as soon as we look at them simultaneously, we immediately
stop being wholly modern.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote4sym" name="sdfootnote4anc"></a></sup></span></span><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[6]</span><span style="font-size: small;"> </span></span></span></span></div>
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<span style="color: black;"><span style="background-color: transparent; font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><br /></span></span></span></span>
<span style="color: black;"><span style="background-color: transparent; font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;">This
creates the “modern paradox” - through translation, we have a
mixture of nature and culture, while on the other hand, we have the
separation of them through purification.</span></span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote5sym" name="sdfootnote5anc"></a></sup><span style="font-size: x-small;">[7]</span><span style="font-size: small;"> As a result, a ‘modern tension’ arises.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote6sym" name="sdfootnote6anc"></a></sup><span style="font-size: x-small;">[8]</span><span style="font-size: small;"> In order to cope with this tension, Latour’s modernity relies on
the four guarantees.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote7sym" name="sdfootnote7anc"></a></sup><span style="font-size: x-small;">[9]</span><span style="font-size: small;"> They separate nature and culture, and prevent an oscillation between
them; but because modernity always has to cope with this underlying
oscillation, modernity is never entirely modern.</span><span style="font-size: x-small;">[10]</span><span style="font-size: small;"> Latour’s
critique of modernity will allow me to look at how the students made
these oscillations aesthetically productive. This means that under
such conditions, the aesthetics of medievalism is a way to experience
the fact that we cannot be wholly modern. If pre-modern societies are
by definition societies that do not differentiate between nature and
culture, then the oscillations imply our status of pre-modernity as
well. </span><span style="font-size: small;"><span style="font-size: small;"><b>
</b></span></span><span style="font-size: small;"><span style="font-size: small;">The
conclusion should therefore be that we are not as wholly modern as we
want to be, and that the Middle Ages were not as wholly unmodern as
we would like to think. </span></span></span></span>
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<span style="color: black;"><span style="font-size: small;"><b><span style="background-color: transparent; font-family: inherit;">The
Translation Process</span></b></span></span></div>
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<span style="color: black;"><span style="background-color: transparent; font-family: inherit;"><span style="font-size: small;">One
of the main tasks for the students was the adaptation of the medieval
allegorical characters, who themselves are already hybrids.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote1sym" name="sdfootnote1anc"></a></sup><span style="font-size: x-small;">[11] </span><span style="font-size: small;">The students thus translated the medieval characters according to
what Garfinkel calls the “</span><span style="font-size: small;"><u>selection
operations,</u></span><span style="font-size: small;">”
where a “paradigm” is chosen that is based on “a set of
operations whereby a demand population is produced from a population
of eligibles.”</span><span style="font-size: x-small;">[12]</span><span style="font-size: small;"> As a result, from all the eligible allegorical characters, the
students chose the ones which they felt would be most in demand to
transport the moral of the play. An example of this is Kinship. The
medieval allegorical figure of Kinship is one person, who embodies a
large extended family. The students re-hybridized the allegory
Kinship into a modern family: mother, father and a sibling, mixing
nature and culture. </span></span></span></div>
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<span style="color: black;"><span style="font-family: Helvetica, sans-serif;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-family: Times New Roman, serif;"><span style="font-size: small;"> </span></span><span style="font-family: Times New Roman, serif;"><span style="font-size: small;"><b><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/geRnkKoNe0o" width="560"></iframe>)</b></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="background-color: transparent;"><span style="font-family: inherit; font-size: small;">Music
also plays a great part in the translation process. It is used to
create the mixture of nature and culture. In the chosen clip, music,
as a cultural product, is mixed with the arrival of Death, a natural
phenomenon, to create that untimely grim reaper effect. </span></span></span></span></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/xnrIIK_bIv4" width="560"></iframe></div>
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<span style="color: black;"><span style="font-size: small;"><span style="background-color: transparent;"><span style="font-family: Times New Roman, serif;"><span style="font-size: small;"><b> </b></span></span><span style="font-family: inherit;"><span style="font-size: small;">Or
here, where the man-made sound effect externalizes the natural
process of death. </span><span style="font-size: small;"><b> </b></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Helvetica, sans-serif;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-family: Times New Roman, serif;"><span style="font-size: small;"><b><iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/9a2T055Hc3c" width="560"></iframe></b></span></span></span></span></span></span></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: small;"><span style="font-size: small;">Setting
and music make up what Garfinkel calls the </span></span><span style="font-size: small;"><span style="font-size: small;"><u>background
expectancies</u></span></span><span style="font-size: small;"><span style="font-size: small;">. These background expectancies are a scheme of interpretation by the
members of society, which is caused by a response to the background.</span></span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote3sym" name="sdfootnote3anc"></a></sup><span style="font-size: x-small;">[13]</span><span style="font-size: small;"> The background expectancies are formed by the complementary setting
of each of the translated characters. This means that these newly
translated characters become “recogniza<span style="font-family: inherit;">ble and intelligible” to
the students, as an experience from their own everyday life.</span></span><sup><span style="font-family: inherit;"><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote4sym" name="sdfootnote4anc"></a></span></sup></span></span><span style="color: black;"><span style="background-color: transparent;"><span style="font-family: inherit;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[14]</span><span style="font-size: small;"> </span></span></span>Therefore, it is the selection o</span>perations, the background
expectancies and re-hybridization of the allegory together that
constitute the translation process. </span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-family: inherit; font-size: small;">
</span></span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><b><span style="background: transparent; font-family: inherit;">The
Purification Process</span></b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfnr-FdufbIDvpgMhQodD4_DOuZ40VE2g-vE2M3qaoqs0n-Pa6HCbo5FJmrJ2w_RW1we3bea4_53qo3C_bj8Mda8_6OiD9LYmTR4QatXbnN4r1q9q_dN9Ha04MJKvRrHc_i7LOBP7unv6D/s1600/death+picture+.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfnr-FdufbIDvpgMhQodD4_DOuZ40VE2g-vE2M3qaoqs0n-Pa6HCbo5FJmrJ2w_RW1we3bea4_53qo3C_bj8Mda8_6OiD9LYmTR4QatXbnN4r1q9q_dN9Ha04MJKvRrHc_i7LOBP7unv6D/s1600/death+picture+.jpeg" /></a></div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: small;"><span style="background-color: transparent;"><span style="font-size: small;">To
exemplify the separation of nature and culture in purification, I
have chosen Death and God. By giving death a human shape, it becomes
a man-made construction. The students’ choice to represent Death as
a femme fatale is in line with what Garfinkel calls the </span><span style="font-size: small;"><u>sex
status</u></span><span style="font-size: small;">.
The sex status occurs in highly ceremonialized occasions, and is a
temporary and playful variation of what the person can be.</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote1sym" name="sdfootnote1anc"></a></sup></span></span></span><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[15] </span></span></span></span></span></span>The sex status is culturally induced, and can be played with when
appropriate, while the alleged true natural gender is invariably
separated from it. </span></span>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-size: small;"><br /></span></span></span></span></span>
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-size: small;">Similarly,
God in the modern adaptation becomes a human construction and acts as
the externalization of normative judgement. In ethnomethodological
terms, he acts as the “</span><span style="font-size: small;"><u>method
of social inquiry.</u></span><span style="font-size: small;">”</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote2sym" name="sdfootnote2anc"></a></sup></span></span></span><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[16]</span></span></span></span></span></span> This means that God decides the harm and its extent, the allocation
of blame and a remedy. Because of this, he is part of Latour’s
purification process as the fourth guarantee of the crossed-out-God
lets him be part of nature or part of culture. God can be the natural
providential power, while also being a culturally constructed God. He
is therefore transcendent and yet immanent. He is removed from “the
dual social and natural construction, while leaving him presentable
and usable nevertheless.”</span></span><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[17]</span><span style="font-size: small;"> </span></span></span></span></span></span>Being the figure of social inquiry enables him to be natural as well
as cultural, and yet separate. </span>
</div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: small;"><b><span style="background-color: transparent;">Conclusion
</span></b></span></span>
</span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="background-color: transparent; font-family: inherit;"><span style="font-size: small;">Following
Latour’s critique of modernity, we have seen that the </span><span style="font-size: small;"><i>trans-medial
Everyman </i></span><span style="font-size: small;">mediates
the paradoxical relationship between translation and purification.
This mediation is indicated by the red oscillation in this diagram.</span></span></span></span></div>
</div>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: small;"><span style="background-color: transparent;"><span style="font-size: small;">Translation
and purification remain distinct, just the way Latour intends
modernity to be understood. The modern constitution, and its four
guarantees, however, are not successful in preventing oscillations,
thus indicating our failure in being wholly modern. The constant
switching between transcendence (nature) and immanence (culture) thus
creates a space of discourse that “happens in the middle,
everything passes between the two.”</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote1sym" name="sdfootnote1anc"></a></sup></span></span></span><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[18]</span><span style="font-size: small;"> </span></span></span></span></span></span></span></span></span></span>You see that I have called this oscillation morality on my diagram,
because I think that the result of this oscillation is the underlying
moral of the play: in one instance the moral of <span style="font-size: small;"><i>Everyman</i></span><span style="font-size: small;">
is that of a Christian ontology, while just an instance later, it
changes into the moral of a secularized ontology, in which the rule
of living a good life is still just as valid. </span>
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<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-size: small;"><br /></span></span></span></span></span>
<span style="font-family: inherit;"><a href="https://www.blogger.com/null" name="GoBack"></a>
<span style="color: black;"><span style="font-size: small;"><span style="background: transparent;"><span style="font-size: small;">In
the context of modern adaptation of a medieval morality play, the
mediation between translation and purification is realized through
the fourth guarantee of a crossed-out-God, allowing modern “men and
women could be atheists even while remaining religious.”</span><sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote2sym" name="sdfootnote2anc"></a></sup></span></span></span><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[19]</span><span style="font-size: small;"> </span></span></span></span></span></span></span></span></span></span>This is probably why modern students kept the figure of God as the
embodiment of normative judgement. God was removed from the religious
context and would be accepted by the audience as an authority
nevertheless, by reinterpreting Christian theology and bringing his
immanence and transcendence into play at the same time.<sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote3sym" name="sdfootnote3anc"></a></sup><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[20]</span><span style="font-size: small;"> </span></span></span></span></span></span></span></span></span>As “the all powerful God could descend into men’s heart of hearts
without intervening in any way with their external affairs,” the
moral of the good life is inherent and metaphysical, even to the
students of today.<sup><a class="sdfootnoteanc" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote4sym" name="sdfootnote4anc"></a></sup><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="color: black;"><span style="background-color: transparent;"><span style="font-size: x-small;">[21]</span></span></span></span></span></span></span>
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<span style="font-family: inherit;">-Irena Berovic</span></div>
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<span style="color: black; font-family: inherit;"><span style="font-size: x-small;">[1]</span> <span style="font-size: x-small;"><span style="font-size: x-small;">As a
contribution for the Beyond Borders Arts History Blog, this paper
will only focus on a small number of examples from the theater
adaptation. The translation process focusing on the adaptation from
medieval play into film, as well as the process of purification
highlighting the film and theater frame of the adaptation will not
be included.</span></span></span></div>
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<span style="color: black; font-family: inherit;"><span style="font-size: x-small;"><span style="font-size: x-small;">[2] </span></span><span style="background: transparent;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span lang="de-DE">Cp.
Garfinkel, </span></span><span style="font-size: x-small;"><i>Studies
in Ethnomethodology, </i></span><span style="font-size: x-small;"><span lang="de-DE">11</span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: x-small;"><span style="font-size: x-small;">[3] Latour, </span><span style="font-size: x-small;"><i>We
Have Never Been Modern</i></span><span style="font-size: x-small;">,
10.</span></span></span></div>
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<span style="font-family: inherit; font-size: x-small;">[4]<span style="color: black;"> Cp. Latour, 10.</span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[5] Latour, 10.</span></span></span></div>
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<span style="font-family: inherit; font-size: x-small;"><span style="color: black;">[6] Cp. Latour, 11. </span>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[7] Latour, 30.</span></span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: x-small;"><span style="font-size: x-small;">[8] The relation here is that, if nature is not made by or for humans,
it becomes transcendent, while culture, if only made by and for
humans, is immanent. (Latour, 30) Latour takes immanence to mean
‘the inherent, the inner dwelling,’ from “immanere - to reside
in.” (Latour, 128)</span><sup><span style="font-size: x-small;">
</span></sup><span style="font-size: x-small;">Transcendence
opposes immanence, as it defines the state of being independent of
the universe, the state of being beyond. In the model of Modernity,
immanence and transcendence create a tension.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[9] Firstly - men don’t make nature, nature has always been there /
secondly - only humans construct society / thirdly - a separation of
the natural and social world, as well as the separation of hybrids
and purification. And lastly, the crossed-out-God, his removal from
“the dual social and natural construction.” (Latour, 30 - 32.)</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[10] Latour claims that modernity would be fine by itself as an entirely
secularized ontology with no room for transcendence. Nevertheless,
modernity produces an immanent transcendence, a form of globalized
network that creates the ‘beyond’ of our social constructs of
our own nature, and the nature of society. The oscillations
mentioned therefore work against modernity as, “the transcendence
of Nature will not prevent its social immanence; on the other hand,
the immanence of the social will not prevent the Leviathan from
remaining transcendent.” (Latour, 32)</span></span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: x-small;"><a class="sdfootnotesym" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote1anc" name="sdfootnote1sym"></a><span style="font-size: x-small;">[11] Allegories are the hybrids because they already are a mixture of
something human and non-human. Take the grim reaper for example, he
is represented as a man with a scythe, something very human, and yet
he symbolizes death, something that obviously transcends the human
sphere of experience.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span lang="de-DE" style="font-family: inherit;">[12] Garfinkel, 213.</span></span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[13] Cp. Garfinkel, 36 - 37.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[14] Garfinkel, 36.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span lang="de-DE" style="font-family: inherit;">[15] Garfinkel, 116.</span></span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[16] Garfinkel, 104.</span></span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="color: black;"><span style="font-family: inherit; font-size: x-small;"><a class="sdfootnotesym" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote3anc" name="sdfootnote3sym"></a><span style="font-size: x-small;">[17] Latour, 33.</span></span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span style="color: black;"><span style="font-family: inherit; font-size: x-small;">[18 ]<span style="font-size: x-small;">Latour, 37.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[19] Cp. Latour, 33.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">[20] Cp. Latour, 33.</span></span></span></div>
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<span style="color: black;"><span style="font-family: inherit; font-size: x-small;"><a class="sdfootnotesym" href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote4anc" name="sdfootnote4sym"></a><span style="font-size: x-small;">[21] Latour, 33.</span></span></span></div>
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<span style="color: black;"><span style="font-size: x-small;"><span style="font-family: inherit; font-size: x-small;">
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<span style="color: black;"><b><span style="background-color: transparent; font-family: inherit; font-size: x-small;">Bibliography</span></b></span></div>
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<span style="color: black;"><span style="background: transparent; font-family: inherit; font-size: x-small;"><i>Everyman</i>.
Organization: I. Berovic, R. Nassar. Heinrich-Heine-Universität
Düsseldorf, 2012.</span></span></div>
<div align="JUSTIFY" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black;"><span style="background: transparent; font-family: inherit; font-size: x-small;"> Based
on “Everyman”<i>
</i>IN:
<i>Medieval
Drama: An Anthology</i>.
Ed. G. Walker. Malden, MA: Blackwell Publishers, 2000. Print.</span></span></div>
<div align="JUSTIFY" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="font-family: inherit; font-size: x-small;"><span style="color: black;"><span style="background: transparent;">Garfinkel,
Harold. <i>Studies
in Ethnomethodology</i>.
Engelwood Cliffs, NJ: Prentice Hall, 1967. Print. </span></span>
</span></div>
<div align="JUSTIFY" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black;"><span style="background-color: transparent; font-family: inherit; font-size: x-small;">Latour,
Bruno. <i>We
Have Never Been Modern</i>.
Cambridge, MA: Harvard UP, 1993. Print.</span></span><br />
<br />
<br />
<span style="color: black;"><span style="background-color: transparent; font-family: inherit; font-size: x-small;"><span style="font-size: small;"><span class="null"><b>Irena Berovic</b> is a medievalist with a special
interest in Old and Middle English literature. She completed her BA
degree in English Literature and Linguistics and her MA degree in
English with a focus on "Medieval Foundations of Modern British
Identities" in 2012. Since then, Irena has been working on her PhD
thesis at the Heinrich-Heine-Universität Düsseldorf, Germany, where she
is currently also working as a research assistant, teaching Old and
Middle English literature in the BA English program.</span> </span></span></span></div>
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<span style="color: black;"><span style="background: transparent;"><span style="font-family: Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="font-family: Times New Roman, serif;"><span style="font-size: x-small;"><span lang="de-DE"> </span></span></span></span></span></span></span></div>
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<span style="color: black;"><span style="font-family: Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="font-family: Times New Roman, serif;"><span style="font-size: x-small;"> </span></span></span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-23557842753641660432014-10-07T01:25:00.000+01:002014-10-07T01:50:30.943+01:00A Review of Jon Cannon's Medieval Church Architecture<div class="MsoNormal">
Hello Beyond Borders Readers,<o:p></o:p></div>
<div class="MsoNormal">
As we welcome the fall season, Beyond Borders will now be writing on a quarterly basis. Between
our quarterly posts, we welcome posts from guest bloggers and plan to keep you
all abreast of our research and on-going academic thoughts. Those interested in
guest blogging can email us at <a href="mailto:beyondborders.blogger@gmail.com">beyondborders.blogger@gmail.com</a>.
Thanks for your readership and we look forward to continuing dialogue with you
all.<o:p></o:p></div>
<div class="MsoNormal">
Best,<o:p></o:p></div>
<div class="MsoNormal">
The Beyond Borders Team <o:p></o:p></div>
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Now for our new post! </div>
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A Review of Jon Cannon’s <i>Medieval
Church Architecture</i></div>
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Over the past two years, Beyond Borders has been fortunate
to have had a great deal of contact with our readers, guest bloggers, and other
medieval academics sites and blogs. At first, our correspondences pertained to
our posts, and met our original goal of creating an academic dialogue in a
cyber-community. Later, our communications evolved to discussing ideas for
conferences, interacting with other websites, and most recently, there has been
an influx of information coming to us about recent academic publications. In
this post I would like to give a brief review one of these publications,
brought to my attention by Shire Books & Old House. Shire was
founded in 1962 and over these many years has built an extensive library,
including a rich selection of books related to academia and learning. This year
Shire is proud to announce a new addition to their library dedicated to the
study of British medieval architecture. <i>Medieval
Church Architecture</i> by Jon Cannon is a short guide to learning and distinguishing
the decorative styles that developed in Britain from the early Anglo-Saxon
period to the High Gothic. As someone who is both a teacher and is continuing
their education, I found this publication an asset to the study of
medieval-built churches.<br />
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I’d firstly like to refer to Cannon’s introduction where he
defines his intentions: “The aim of this book is to enable beginners to
recognise these [medieval] styles as they appear in England.” I must agree with
Cannon and Shire in this description. This publication is not for those well versed in the subject per se, but for those new to the study of architecture. The book is
divided into chapters by style, with each chapter including an introductory
synopsis, a section on the development of the style involving the historical
events leading to the style, and an extensive “diagnosis” (as Cannon calls it)
of the style which gives descriptions of the ornamental and structural details. The book also makes sure to highlight key terminology throughout the text and a glossary is included at the
book’s conclusion. Having taught an art history survey, I wish I would have
had such a vocabulary list for my students. From an educator’s perspective, Cannon’s work
is a helpful classroom companion. Most importantly of all, I feel that with
this text, a student/beginner would be able to distinguish one style of British
medieval church architecture from another.<o:p></o:p></div>
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The title suits well as Cannon describes the cultural
translation between continental Europe and Britain, but the decorated themes
covered are predominately those of British architecture, only bringing in a
European example to set precedence for the rise of a particular style, rendering the book's reach more limited than the title initially suggests. Still, Cannon work does help to organise this information by focusing on six stylistic movements for British medieval architecture: Anglo-Saxon,
Norman/Romanesque, Transitional (Romanesque to Gothic), Early Gothic, Decorated,
and Perpendicular. Each chapter is
accompanied by images and diagrams. Along with categorising these styles,
Cannon places an emphasis on the overlap likely to happen with the construction
of both smaller and greater structures, resulting in a hybrid style that can
make it more difficult to identify a style and date a structure. Cannon’s categorisation and use of imagery
build a visual lexicon for the reader.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie0eJSHgT9aapfNOFIeBwnlAQ_2KMckGc54OQUMSlXUxVkc4Ji2Go6ixzs1hBqRRt0DDJqsg42nsiMpiAg4LWp3rZXgn_kCJZzkci5S1hw3xY5YEF78TYXyY3VrdJBvrzJVNmxAtnEy2I4/s1600/Rosewell.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie0eJSHgT9aapfNOFIeBwnlAQ_2KMckGc54OQUMSlXUxVkc4Ji2Go6ixzs1hBqRRt0DDJqsg42nsiMpiAg4LWp3rZXgn_kCJZzkci5S1hw3xY5YEF78TYXyY3VrdJBvrzJVNmxAtnEy2I4/s1600/Rosewell.JPG" height="200" width="141" /></a><br />
I highly recommend <i>Medieval
Church Architecture</i> for those new to architectural studies and educators
looking for a classroom companion. This is a short read for an in-depth
understanding of the ornamentation that defines the architecture of medieval
Britain. Medieval Church Architecture will remain a permanent addition to both
my personal and classroom library.<o:p></o:p></div>
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Shire Books has generously
offered five copies of their recent publication, <i>Medieval Wall Paintings</i>, for Beyond Borders to share. The first
five readers to contact us at (<a href="mailto:beyondborders.blogger@gmail.com">beyondborders.blogger@gmail.com</a>)
shall receive a hard copy free of charge.<br />
<br />
~Emily</div>
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-11889951276182901542014-06-04T17:52:00.001+01:002014-06-04T17:52:34.815+01:00A Magic Bowl for Love and Prosperity: Part I<div class="MsoNormal" style="line-height: 200%; mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
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<span style="line-height: 200%;"><span style="font-family: inherit;">With
regard to the apotropaic efficacy of objects within the Islamic culture of
esoteric beliefs and practices, the magic bowl occupies an interesting space.
It bears many visual and textual similarities to portable amulets and talismans; however, it is not carried with a person on a day-to-day basis, but instead is
used in particular instances for a specific purpose.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[i]</span><!--[endif]--></span>
Emilie Savage-Smith’s interpretation of the Islamic magic-medicinal bowls
within the Nasser D. Khalili Collection has provided the current academic
discourse on Islamic amulets, talismans, and other ‘magical’ objects an
indispensable examination of the textual and visual components of Islamic
magic-medicinal bowls.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ii]</span><!--[endif]--></span></span><span style="font-family: inherit;">
Even though her analysis focuses upon magic-medicinal bowls, its interpretations
may be used to address the significance of the other types of Islamic magic
bowls because many of the inscribed elements she examines can be found on other
apotropaic objects. </span><span style="font-family: Times New Roman;"><o:p></o:p></span></span></div>
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<span style="font-family: inherit; line-height: 200%;">Recently,
I had the opportunity to examine an Islamic magic bowl supposedly created for
love and prosperity. The bowl was made in Iran and likely can be dated to the
pre-Modern time-period. The object is comprised of a myriad of sigils, magic
squares, and partially inscribed Qur’anic verses. The purpose of my analysis
was to interpret the bowl’s intended functionality through an examination of
its aforementioned attributes as a means to contextualise it within the arena
of the current corpus of scholarship concerning magic-medicinal bowls. Within
this post, I will discuss one aspect of the<span style="background-color: white;"> </span>magic bowl, the Seal of Solomon, which only
occurs three times within the illustrative programme of the bowl, but is
significant nonetheless. </span><br />
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<span style="font-family: inherit;"><span style="line-height: 200%; text-indent: 0.5in;">In the general tradition of magic, the Seal of
Solomon along with the seals of various other prophets are commonly found on
amulets and talismans.</span><span class="MsoEndnoteReference" style="line-height: 200%; text-indent: 0.5in;"><span class="MsoEndnoteReference">[iii]</span></span><span style="line-height: 200%; text-indent: 0.5in;">
When the Seal of Solomon and the other prophetic seals are inscribed together,
they are believed to “represent the mysterious name and the seal of the
Almighty.”</span><span class="MsoEndnoteReference" style="line-height: 200%; text-indent: 0.5in;"><span class="MsoEndnoteReference">[iv]</span></span><span style="line-height: 200%; text-indent: 0.5in;">
However, the Seal of Solomon may stand-alone and is often illustrated as a star
in the shape of a pentagram or hexagram.</span><span class="MsoEndnoteReference" style="line-height: 200%; text-indent: 0.5in;"><span class="MsoEndnoteReference">[v]</span></span><span style="line-height: 200%; text-indent: 0.5in;">
Within geometric symbolism, the hexagram and pentagram represent a cosmic
expression of</span><span style="line-height: 200%; text-indent: 0.5in;"> </span><span style="line-height: 200%; text-indent: 0.5in;">“heaven and its reflection
on earth, the divine and its reflection in creation and of the connection
between heaven and earth, between the macrocosm and the microcosm, and between
spirit and matter.”</span><span class="MsoEndnoteReference" style="line-height: 200%; text-indent: 0.5in;"><span class="MsoEndnoteReference">[vi]</span></span><span style="line-height: 200%; text-indent: 0.5in;">
This reference to divinity and creation is reminiscent of previous discussions
about the juxtaposition of the square and the circle, which Emily Tuttle has
touched upon within her work and contributions to </span><i style="line-height: 200%; text-indent: 0.5in;">Beyond Borders</i><span style="line-height: 200%; text-indent: 0.5in;"> and is something I will further elaborate upon
within part II of this series.<span style="color: magenta;"> </span></span></span></div>
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<span style="font-family: inherit; line-height: 200%;">Aside
from geometric symbolism, the seal contains religious and cultural significance
as well. Within Islamic tradition, the hexagram is believed to be the sign of
King Solomon and in Judaism, it is the Shield of King David.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[vii]</span><!--[endif]--></span>
According to Gershom Scholem, the six-pointed star did not originate as a
symbol of the Jewish monotheistic faith, but rather it was bound in magical
traditions and used for talismans and amulets to protect against evil spirits.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[viii]</span><!--[endif]--></span>
Within the Jewish, Christian, and Islamic traditions, Solomon was thought to
have magical powers that could control or exorcize demons and other spirits.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[ix]</span><!--[endif]--></span>
Scholem further states that the “Arabs” showed tremendous interest in the
occult sciences and that the name, ‘Seal of Solomon’, originated with them, but
was inspired from the Jewish legends of Solomon’s dominion over spirits along
with his ring that had the “Ineffable Name” engraved upon it.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[x]</span><!--[endif]--></span>
E.A. Wallis Budge suggested that Muhammad sanctioned the use of inscribed
amulets and, through the Qur’an, passed on to his followers the history of
Solomon as a magician and the emphasis of the apotropaic qualities that the
names of Allah held.<span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference">[xi]</span><!--[endif]--></span>
<o:p></o:p></span></div>
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<span style="line-height: 200%;"><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: inherit;"><br /></span></span></span></span></span></div>
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<span style="font-family: inherit; line-height: 200%;">However,
with this succinct inquiry into the seal’s possible relevance, the question
remains as to why this symbol was incorporated into the illustrative programme
of this particular magic bowl. One may postulate that a belief in the magical
abilities of Solomon along with knowledge of the seal’s geometric and symbolic
significance may have been an impetus for the creator of the magic bowl to
incorporate the Seal of Solomon within the magic bowl’s magical and textual
program in order to enhance the bowl’s potential efficacy. However, this, for
now, must be left for further analysis especially with regard to the seal’s juxtaposition
with other inscribed aspects of the magic bowl, which shall be discussed in part
II.<o:p></o:p></span></div>
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<!--StartFragment-->
<!--EndFragment--><br />
<div style="mso-element: endnote-list;">
<!--[if !supportEndnotes]--><span style="font-family: inherit;">~Shandra</span><br />
<br />
<hr align="left" size="1" width="33%" />
<br />
<!--[endif]-->
<br />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[i]</span></span><!--[endif]--></span></span><span style="font-family: "Times New Roman";"> Emilie Savage-Smith, <i style="mso-bidi-font-style: normal;">Science Tools & Magic</i>, 72. <o:p></o:p></span></span></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[ii]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> Ibid, 72-105.<o:p></o:p></span></span></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[iii]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> T.Canaan, “Arabic Magic
Bowls,” 94.<o:p></o:p></span></span></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[iv]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> Ibid.<o:p></o:p></span></span></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[v]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> Ibid; Gershom Scholem, “</span><span style="font-family: "Times New Roman";">The Curious History of the Six-Pointed Star,” </span><span style="font-family: "Times New Roman";">Scholem states that the
terms for the geometric shapes of the hexagram and pentagram were both endowed
with power, and were frequently interchanged within talismanic literature. Some
amulet makers used the hexagram while others used the pentagram. Both stars
were called the ‘Seal of Solomon’ and there was no difference between them,
245-246.<o:p></o:p></span></span></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[vi]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> </span><span style="font-family: "Times New Roman";">"King Solomon's Seal." Israel Ministry of Foreign
Affairs</span><span style="font-family: "Times New Roman";">;
J.C. Cooper, 179-180. <o:p></o:p></span></span></div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[vii]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> T. Canaan, “Arabic Magic
Bowls,” 94.<o:p></o:p></span></span></div>
</div>
<div id="edn8" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[viii]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> G. Scholem, 245-246. <o:p></o:p></span></span></div>
</div>
<div id="edn9" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[ix]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> Paul A. Torijano,
“Solomon and Magic”, 110; C. Gruber, 140.<o:p></o:p></span></span></div>
</div>
<div id="edn10" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-size: x-small;"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[x]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"> G. Scholem, 246.<o:p></o:p></span></span></div>
</div>
<div id="edn11" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";"><span style="font-size: x-small; mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman";">[xi]</span></span><!--[endif]--></span></span></span><span style="font-family: "Times New Roman";"><span style="font-size: x-small;"> E.A. Wallis Budge, 33.</span><span style="font-size: 9pt;"><o:p></o:p></span></span></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-82029269485499472982014-02-26T13:18:00.000+00:002014-02-26T13:18:39.868+00:00Gilt Visions: Courtly Culture and the Otherworld in the Mabinogion<div style="text-align: justify;">
<span style="font-family: inherit;">I have recently been examining the issue of ‘materiality’ in History
of Art as part of my PhD research. Rather than discuss my research
directly, I want to explore the issue of materiality in the medieval
literature of Wales. In order to make this a more manageable post, I
will be examining materiality in the first four tales—Branches as they
are commonly called—of the Mabinogion as signs of the Otherworld
entering into the narratives.[1] To briefly introduce the Mabinogion, it
is a collection of medieval Welsh prose stories, first referred to as
such in 1795 by Willam Owen Pughe and later popularised by the first
English translator, Lady Charlotte Guest. Many of the stories appear in
the White Book of Rhydderch and the Red Book of Hergest, both
fourteenth-century manuscripts. Scholarship generally agrees that the
tales are derived from earlier sources, likely oral traditions, best
seen in the older poetic verses that crop up throughout the text. While
the first four tales of the collection follow a general, if episodic,
linear progression, the subsequent tales do not. The stories themselves
contain monsters, giants, wondrous landscapes, magic both active and
passive, enchanted items, and a purposely archaic view of the past,
which allows the tales to exist in a nebulous historical time far
removed from our present and even before the scribes of the two
aforementioned manuscripts. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitSRZ-t5G0lZQtPWyjlqCpjTY1rEXPwTXG3paQ-x66LH-Rk2TOye3Of-c9nP7flYthcsvf2va35_Shako8f3nB7MXh1-YkeMNG74L6sa0bQhn1wcuhtxFREClFulZHWLxysISa1ucxsA3d/s1600/k135365_l.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitSRZ-t5G0lZQtPWyjlqCpjTY1rEXPwTXG3paQ-x66LH-Rk2TOye3Of-c9nP7flYthcsvf2va35_Shako8f3nB7MXh1-YkeMNG74L6sa0bQhn1wcuhtxFREClFulZHWLxysISa1ucxsA3d/s1600/k135365_l.jpg" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Welsh (?) Gold Hoop Brooch: 7th Century </span></td></tr>
</tbody></table>
</span><br />
<span style="font-family: inherit;"><br />As for the Otherworld, John Carey
initially defines the Otherworld at its most minimal as ‘a place
inhabited by supernatural beings and itself exhibiting supernatural
characteristics’.[2] Carey goes onto define this further, noting how the
Otherworld appears in a spatial paradox with the mundane, oftentimes
separate while at others imminent.[3] Additionally, Carey notes how time
operates differently in the Otherworld, while the human and nonhuman
inhabitants of the Otherworld oftentimes possess preternatural
characteristics.[4] Josef Baudiš too notes that the Otherworld can also
be seen through an ethnic lens, whereby ‘an alien race and a distant
country might have been regarded as an Other World’ perhaps arising from
‘some prehistoric expedition[s]’.[5] Alfred Siewers goes onto define
the term further as containing, ‘associations with ancestors and art as
well as with the natural world…connected with everyday human experiences
through prehistoric mounds, trees, the sea, lakes and rivers’.[6] This
element of the Other and of wonderment, appearing simplest as magic, can
help mark instances of when the Otherworld can be seen in the
narrative. Carey observes, ‘to the ancient Irish the Otherworld lay not
only beyond the limits of existence, but also at the very heart of
society’, allowing for an Otherworld that is both imminent and distant,
expressed in the language of courtly culture and its sumptuous
material.[7]I will be examining these moments of overt materiality,
defined as such by explicit reference to key aspects of clothing and
other accoutrements, in the first four Branches as markers of the
Otherworld. </span><br />
<span style="font-family: inherit;"><br />Now, explaining materiality could fill at least one
blog post, if not a series of them. For the moment, materiality will be
regarded as the nuanced term that it is. While containing connotations
of material culture, materiality is not connected to materialism.
Rather, materiality engages with the material nature of objects,
animate, intimate, and even conceptual. The inanimate can address
cultural meanings and uses of anything from gold to bones, while animate
may engage with ideas of living bodies (or animated material say as
tales of weeping statues). As for the conceptual, think of the issues
involved with crypto-currencies like Bitcoins or the like; their
immateriality is itself an aspect of their material nature, albeit an
inversed one. Finally, the viewer doesn’t have to always be conscious of
the nature of the material in question, which Daniel Miller calls ‘the
humility of things.’ Miller explains, ‘The less we are aware of them,
the more powerfully they can determine our expectations by setting the
scene and ensuring normative behaviors, without being open to challenge.
They determine what takes place to the extent that we are unconscious
of their capacity to do so’.[8] A simple thought experiment to become
aware of this can be done by either visually and/or physically examining
foreign currency. It feels different, looks different, weighs
differently, may not fit into a wallet properly, and the ability to
spend it is impeded dependent on the location of where the currency is
in the world at that moment in time. Either our fascinations or
annoyances with the currency highlight how we engage with money both as a
concept and as an object, via its material. Indeed, the more one
engages with the new currency the less strange or false it may appear.
Simply put, the study of materiality is the study of how materials
influence and are influenced by human behaviour.</span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWOidddPVo-hSoB1lNofC8surmU5MLNYS23ZdYCNpue9pv2u_GLGD7ubRpuyBGj3jLdEYGQPXzmxC3ndTaNwB633BtOTNa8FySp_oIKrzZROAJ_VIRgj3d7cf6qjQ-g9d7Qppy_yhr0ifK/s1600/sf28-180-2s1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWOidddPVo-hSoB1lNofC8surmU5MLNYS23ZdYCNpue9pv2u_GLGD7ubRpuyBGj3jLdEYGQPXzmxC3ndTaNwB633BtOTNa8FySp_oIKrzZROAJ_VIRgj3d7cf6qjQ-g9d7Qppy_yhr0ifK/s1600/sf28-180-2s1.jpg" height="269" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Italian Brocade Textile: 14th Century</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br />Looking to the
First Branch, the Otherworld almost immediately enters the narrative.
Pwyll is seen out hunting in the woods, whereupon a group of white
hounds with red ears take down a stag in a clearing. Sioned Davies and
Andew Welsh both note the importance of white and red as markers of the
Otherworld in Welsh and Irish literature.[9] Despite Pwyll’s initial
captivation by the hounds, Pwyll ignores this Otherworldly clue and
instead drives the pack away. Arawn, the owner of the dogs, eventually
enters the scene and chastises Pywll, who then seeks to make amends to
the strange but clearly noble figure. Arawn is described as wearing
clothes of a ‘light grey material’ carrying ‘a hunting horn’, and is in
fact preceded by his dogs, both an Otherworldy sight as well as a symbol
of his rank.[10] Arawn’s clothing is described in contract to the
silence on what Pwyll may have been wearing. While this occurrence
occupies a liminal place in a clearing in the woods, a common motif in
Otherworldly encounters, it is preceded by a display of courtly
culture.[11] This marvel is further seen in the magic of Arawn and his
kingdom of Annwfn, meaning ‘deep within’ or ‘un-world’.[12]Arawn escorts
Pwyll to his land, where Pywll is met with ‘the most beautifully
adorned buildings that anyone had seen’.[13] Pwyll, enchanted into
Arawn’s form, is dressed in a ‘golden garment of brocaded silk’.[14] The
realm of Annwfn is filled with beauty and wealth, both agriculturally
as denoted by the feasting and monetarily through the display of
precious metals and gems. Even the inhabitants are more beautiful,
beyond that of Pywll’s own realm. Annwfn appears as a distinctly
Otherised place, conforming to nearly every definition of the Otherworld
listed above, specifically that of a location separate from the mundane
world.[15] Later on in the tales, when the character of Rhiannon first
appears, she is seen ‘wearing a shining golden garment of brocaded silk
on a big, tall, pale-white horse’.[16] After failing to overtake her
horse, which always outpaces Pwyll despite not appearing to walk faster
than a calm gait, Pwyll notes that ‘some magical’ explanation is to
blame. Having spent time in the Otherworld, Pwyll sees what he was not
able to before, the presence of the magical through its physical and
material markers.</span><br />
<span style="font-family: inherit;"><br />This is not the only tale to feature sumptuous
culture marking both earthly elites and otherworldly entrances. In the
Third Branch, in a moment of preternatural skill once again associated
with the nobility, Manawydan and his companions must flee each town
after earning the ire of local craftsmen. Manawydan and Pryderi are able
to become exceptional craftsmen in saddle making, shields, and
shoemaking seemingly instantly in the narrative, and eventually the
local English craftsmen run the group out of town. After failing to
settle in England, Manawydan leads the group back to Arberth where after
a year of living off the land magic once again appears in Dyfed. In the
Fourth Branch, Lleu’s entire narrative trajectory is defined by gaining
cultural status markers of manhood, from the weapons that Aranrhod
unwittingly fashions him, to the creation of Leu’s wife, Blodeuedd, by
Gwydion from flowers. Even Leu’s birth is couched in terms of sumptuous
material. After Lleu is birthed by Aranhood in an overtly magical scene
involving her stepping over a magic wand, he is simply dropped,
abandoned by her, ‘a small something’, which Gwydion notices and takes
upon himself to raise.[17] Following the pattern of perception and
sumptuous markers, Gwydion wraps the ‘something’ in brocaded silk and
hides him in a chest. It is not until an unspecified amount of time
later that Gwydion hears the boy moving in the chest, appearing in a
metaphorical birth scene surrounded by fabric.[18] Following Leu’s
magical birth he is given time to mature in expensive fabrics and enters
the narrative again in a metaphorical birth scene. Finally, in the
Second Branch, a large Cauldron of Rebirth is introduced. Dead soldiers
are placed in the cauldron, after which they emerge alive but mute.
While not overtly obvious to our contemporary eyes, even discounting its
enchanted state and discovery, the Cauldron of Rebirth is itself a
large cauldron, which is tied conceptually to feasting, access to raw
materials, and to the craftsmen need to undertake such a task. While not
being gold, silk, or leather, the cauldron equally calls attention to
sumptuous culture, albeit in a different way.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYUDYkwJkzoFuIc-U_Km8iAoxWTY47Li99Jj8hgMrtpwqRsnMciIdXJ80UWjzCa8NDEcMRvgS-_TpRNtdpVDoup0iNHuRIZHZofvQcct8o8pRLVRRQgGidtixRFvSVcu2aKbXs-6nV6Ly4/s1600/GTJ23060_2.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYUDYkwJkzoFuIc-U_Km8iAoxWTY47Li99Jj8hgMrtpwqRsnMciIdXJ80UWjzCa8NDEcMRvgS-_TpRNtdpVDoup0iNHuRIZHZofvQcct8o8pRLVRRQgGidtixRFvSVcu2aKbXs-6nV6Ly4/s1600/GTJ23060_2.jpg" height="277" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Welsh Bronze Cauldron: 16th Century </span></td></tr>
</tbody></table>
</span><br />
<span style="font-family: inherit;"><br />The Otherworld
moves throughout the Four Branches from existing as a separate exotic
location seeped in magic, preternatural skill, and beauty to lying
within the blood and families of the characters. Sumptuous culture, tied
to both the Otherworld-as-location and courtly culture, highlight
potential Otherworldly encounters by being introduced near important
personages. Brocade silk, brooches, and cordovan leather adorn both
earthly elites and otherworldly figures, uniting them through the
material of finery. Not only does this material appear often in the
introduction of powerful characters, it also appears in later tales
beyond the first four Branches, most notably in The Dream of the Emperor
Maxen. Sumptuous material provides a link between earthly figures and
Otherworldly counterparts, with the Otherworld inhabitant described as
simply possessing more elite materials and items. While this may be
acting as formula to indicate the wondrous, it also subtly ties the more
mundane is not preternaturally skilled elites to the magical
Otherworld. Material, as much as landscape or even overt displays of
magic, connect the two worlds. As such, not only can sumptuous material
be seen as elite, it can also be seen as possessing an quality of the
fantastic, providing contemporary readers a view into the ontological
importance of elite material culture.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br />By Samuel</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /><a href="https://www.britishmuseum.org/explore/highlights/highlight_objects/pe_mla/g/gold_brooch_hoop.aspx" target="_blank">Gold Hoop Brooch: Copyright The British Museum</a></span><br />
<span style="font-family: inherit;"><br /><a href="http://www.metmuseum.org/collections/search-the-collections/466706" target="_blank">Brocade Textile: Copyright The Metropolitan Museum of Art</a></span><br />
<span style="font-family: inherit;"><br /><a href="http://www.peoplescollectionwales.co.uk/items/1895" target="_blank">Medieval Cauldron: Copyright The People's Collection Wales</a></span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">________________________________</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">[1]
Now I preface this section with an overt acknowledgement that I am
using translated texts; I engaged with this text as an art historian
rather than a linguist, and my thoughts reflect this.</span><br />
<span style="font-family: inherit;">[2] Carey, John, ‘Time, Space, and the Otherworld’, Proceedings of the Harvard Celtic Colloquium 7 (1987), pp. 1-27, p. 1.</span><br />
<span style="font-family: inherit;">[3] Ibid.: 13-4.</span><br />
<span style="font-family: inherit;">[4] Ibid,: 14.</span><br />
<span style="font-family: inherit;">[5] Baudiš, Josef, ‘Mabinogion’, Folklore 27 (1916), pp. 31-68, p. 40-1.</span><br />
<span style="font-family: inherit;">[6]
Siewers, Alfred, Writing an Icon of the Land: the Mabinogi as a
Mystagogy of Landscape’, Peritia 19 (2005), pp. 193-228, p. 200.</span><br />
<span style="font-family: inherit;">[7] Carey, John, ‘Time, Space, and the Otherworld’, Proceedings of the Harvard Celtic Colloquium 7 (1987), pp. 1-27, p. 15.</span><br />
<span style="font-family: inherit;">[8]
Miller, Daniel, ‘Materiality: An Introduction’, in Daniel Miller, eds.,
Materiality (Durham: Duke University Press, 2005), pp. 1-50, p.5.</span><br />
<span style="font-family: inherit;">[9]
Davies, Sioned, The Mabinogion (Oxford: Oxford University Press, 2007),
p. 228; Welsh, Andrew. ‘Doubling and Incest in the Mabinogi’, Speculum
65 (1990), pp. 344-62, p. 351.</span><br />
<span style="font-family: inherit;">[10] Dogs appear in several other gift exchanges between nobles in the Four Branches.</span><br />
<span style="font-family: inherit;">[11]
Siewers, Alfred, Writing an Icon of the Land: the Mabinogi as a
Mystagogy of Landscape’, Peritia 19 (2005), pp. 193-228, p.200.</span><br />
<span style="font-family: inherit;">[12] Ibid.: 201-2.</span><br />
<span style="font-family: inherit;">[13] Davies, Sioned, The Mabinogion (Oxford: Oxford University Press, 2007), p. 5.</span><br />
<span style="font-family: inherit;">[14] Ibid.</span><br />
<span style="font-family: inherit;">[15]
Carey, John, ‘The Location of the Otherworld in Irish Tradition’, in
The Otherworld Voyage in Early Irish Literature ed. J. Wooding (Dublin:
Four Courts Press, 2000), pp. 113-9, p. 118.</span><br />
<span style="font-family: inherit;">[16] Ibid.</span><br />
<span style="font-family: inherit;">[17] Davies, Sioned, The Mabinogion (Oxford: Oxford University Press, 2007), p. 356.</span><br />
<span style="font-family: inherit;">[18]
Sheehan, Sarah, ‘Matrilineal Subjects: Ambiguity, Bodies, and
Metamorphosis in the Fourth Branch of the Mabinogi’, Journal of Woman in
Culture and Society 34 (2009), pp. 319-342, p. 327.</span></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-84643308639710299782014-02-06T00:53:00.002+00:002014-02-08T03:41:19.312+00:00The Transition of Orsanmichele: Medieval to Renaissance, Market to Holy Site<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje6wk4Z95X5MplNf0J-4lmAaabovXV64YM4ulQecM3edxrB91ZPWIhPtQ3thazXOZ75br55DqfAwFzm4TykjFFd60X-H7qXskow0IAS8oOQrXZv0_Y0kNL_PbvNTuvfslVx6Hdo0fFYWXx/s1600/orsan1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje6wk4Z95X5MplNf0J-4lmAaabovXV64YM4ulQecM3edxrB91ZPWIhPtQ3thazXOZ75br55DqfAwFzm4TykjFFd60X-H7qXskow0IAS8oOQrXZv0_Y0kNL_PbvNTuvfslVx6Hdo0fFYWXx/s1600/orsan1.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Orsanmichele</span></td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: inherit;">Like many of the buildings of Florence, Italy,
Orsanmichele has a rich history and use of spolia. According to the National
Gallery of Art Washington DC, Orsanmichele is speculated to have once housed a
place of worship to Isis in Roman times, and was later utilized by the Lombards
of the 8<sup>th</sup>-9<sup>th</sup> centuries as an oratory in dedication to
San Michele in Orto.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[1]</span></span><!--[endif]--></span></a> In
1239, the building was demolished and later rebuilt in 1290 by Arnolfo di
Cambia as a <i>loggia</i> to host the sale
of grain.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>
The two-story building allowed for the grains to be housed on the second level
of the building where it was less likely to be consumed by pests. The grains
were then sent down a shoot (a hollow pillar, meant to mimic the rest of the
décor) to the first-story market to be sold through the <i>loggia</i> that welcomed the shoppers of Florence.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[3]</span></span><!--[endif]--></span></a> Upon
one of these pillars was an image of the Virgin. Unfortunately now destroyed, the
Virgin was said to have blessed visitors with miracles, making the building a
holy site.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[4]</span></span><!--[endif]--></span></a> The
Virgin’s miracles led to a number of restorations, alterations, and added
ornamentation to the building. In this post, I would like to observe the
architectural alterations made to the building as it transitioned not only from
grain market to sanctuary, but from the Medieval period to the Renaissance. The
stylistic changes from one time period to the next and the new function of the
building has thus resulted in a unique architectural aesthetic. <o:p></o:p></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: inherit;">In 1304 the <i>loggia</i>
suffered a fire, allowing for a great many changes to happen through the mid fourteenth
century.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[5]</span></span><!--[endif]--></span></a>
The first of the renovations was contributed by the Silk Guild, who provided a
new <i>loggia</i> (started and finished between
1337 & 1349) that still stands today.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[6]</span></span><!--[endif]--></span></a> The
arches of the <i>loggia</i> consist of a
traditional three lancets that form a rounded arch. The columns are topped with
Corinthian capitals and the interior of the arch is adorned with geometric
forms, most predominately a Catherine Wheel at the top-centre of the arch. The
smaller of the geometric forms is a six-lobed flower, possibly a reference to
the Florentine Lily also seen in the nearby Palazzo Vecchio. Do note that at this time of the completion
of the <i>loggia</i> it was still open and
in-part still used as a market until 1357.<span class="MsoFootnoteReference" style="font-size: x-small;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn7" name="_ftnref7" title="">[7]</a></span></span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2txrwbmYsO9yiO4nwKKpiYjS0-46qufIZln80VLPW4rLFKVtByklMhja8ExeNWEwIHp5ZCFg2_1NeLt0vaN0ywNKhVoqfwcBO9PUbt8f_9-IXkyVIAPlrHGdCZOVLTbhyo0s6v2TAWYy8/s1600/trifora+orsanmichele.jpg" imageanchor="1" style="display: inline !important; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2txrwbmYsO9yiO4nwKKpiYjS0-46qufIZln80VLPW4rLFKVtByklMhja8ExeNWEwIHp5ZCFg2_1NeLt0vaN0ywNKhVoqfwcBO9PUbt8f_9-IXkyVIAPlrHGdCZOVLTbhyo0s6v2TAWYy8/s1600/trifora+orsanmichele.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">The now closed loggia of Orsanmichele with Gothic ornamentation</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLViUT_2d2azFym7znnuJafELwHAl3kk6KRLsAUbWhu_JeF86JeIs81wJ55lcLYSHrGSLdiwlk0-yRSO5UCDXOtpg2pHwBSw9P9-sOHd1dETWn6GmTPM-zXuFaS6xWuEJ90yc-w8rCZKI/s1600/palazzo-vecchio-ceiling.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfLViUT_2d2azFym7znnuJafELwHAl3kk6KRLsAUbWhu_JeF86JeIs81wJ55lcLYSHrGSLdiwlk0-yRSO5UCDXOtpg2pHwBSw9P9-sOHd1dETWn6GmTPM-zXuFaS6xWuEJ90yc-w8rCZKI/s1600/palazzo-vecchio-ceiling.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Six-lobed Florentine Lilies of Palazzo Vecchio</span></td></tr>
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<span style="line-height: 115%;"><span style="font-family: inherit;">By 1346, the sacred image of the Virgin began to
fade away and was replaced by <i>Madonna
delle Grazie</i> (Madonna of Graces) by the artist Bernardo Daddi.<a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[8]</span></span><!--[endif]--></span></a>
Daddi’s Madonna had a surge in popularity just two years after its placement at
Orsanmichele due to the spread of the plague.<span style="font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span><!--[endif]--></span></a>
</span>The image was revered as the great healer and was complimented with an ornate
tabernacle featuring the life and virtues of Mary, a treat for the eyes of the
many pilgrims who sought her blessing. The tabernacle is a hybrid of both the
French and Italian Gothic styles—incorporating the more ornate style of the
French and the more geometric style of Italy. Although the Italian love of
simple mathematics remained the basis for Orsanmichele’s layout, the French
ornate style dominated the ornamentation as seen in the image below. The
quadripartite ceilings and stained glass are the most prominent of the decorations
adopted from the French style.<o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjChKosl52wfgNeTk-FKPgtD55XUftf8wmHhM5T_mw6I_d6iAPU64k9Nu-h_7nXxj2n0YIjWppl0ojxMsI9ZzC5fjhf_GNzpmZ8LF22ptEX3ZKJo3d8VolmG3jB2jRN3OwhCPU7gIJeevbI/s1600/Orsanmichele,_interno,_tabernacolo_dell'orcagna_10_madonna_di_bernardo_daddi.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjChKosl52wfgNeTk-FKPgtD55XUftf8wmHhM5T_mw6I_d6iAPU64k9Nu-h_7nXxj2n0YIjWppl0ojxMsI9ZzC5fjhf_GNzpmZ8LF22ptEX3ZKJo3d8VolmG3jB2jRN3OwhCPU7gIJeevbI/s1600/Orsanmichele,_interno,_tabernacolo_dell'orcagna_10_madonna_di_bernardo_daddi.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Daddi's <i>Maddona delle Grazie</i></span></td></tr>
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<div style="text-align: justify;">
<span style="font-family: inherit; line-height: 115%;">As Florence entered the Renaissance, it was decided
that Orsanmichele was in need of aesthetic renewal. In the late 14</span><sup style="font-family: inherit; line-height: 115%;">th</sup><span style="font-family: inherit; line-height: 115%;">
and early 15</span><sup style="font-family: inherit; line-height: 115%;">th</sup><span style="font-family: inherit; line-height: 115%;"> centuries, niches were added to the façade in the
same style of Daddi’s tabernacle.</span><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn10" name="_ftnref10" style="font-family: inherit; line-height: 115%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[10]</span></span></span></a><span style="font-family: inherit; line-height: 115%;">
Within each of the niches, the guilds of Florence commissioned a statue of
their patron saint, the most recognisable being the </span><i style="font-family: inherit; line-height: 115%;">David</i><span style="font-family: inherit; line-height: 115%;"> by Donatello representing the armourers.</span><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftn11" name="_ftnref11" style="font-family: inherit; line-height: 115%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: x-small; line-height: 115%;">[11]</span></span></span></a><span style="font-family: inherit; line-height: 115%;"> Most
of the niches are currently filled with copies of the original statues which
are being restored in the former granary on the second level of Orsanmichele.
Some, however, like Donatello’s </span><i style="font-family: inherit; line-height: 115%;">David</i><span style="font-family: inherit; line-height: 115%;">,
have been moved to museums throughout the city including the Bargello and the
Museum of Santa Croce. These statues are the contribution from the Renaissance
era, but aside from their date of creation, they are testament to the style of
the time period, representing a rebirth of Classical statuary. The figures are
adorned in draped clothing, often stand in a contrapasto-like fashion, and have
Classical-style curly hair.</span></div>
</div>
<div class="MsoNormal">
<span style="font-family: inherit; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFL3ZS_jBK-N9aau5hDQaRx7sQh1cagbFuV0poyY2g078MVdqZeo9CA7nfa4Ji_JgN-LiWePxqtDunbCG8yNq-ZKpSLz9NDVokQy5znjMdZVxNKOGh_s3edIECcUcdqRFcmxTEoluqapIP/s1600/st-george-tabernacle-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFL3ZS_jBK-N9aau5hDQaRx7sQh1cagbFuV0poyY2g078MVdqZeo9CA7nfa4Ji_JgN-LiWePxqtDunbCG8yNq-ZKpSLz9NDVokQy5znjMdZVxNKOGh_s3edIECcUcdqRFcmxTEoluqapIP/s1600/st-george-tabernacle-2.jpg" height="320" width="177" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Copy of Donatello's <i>David</i> on the exterior wall of Orsanmichele</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: inherit; line-height: 115%;"><br /></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<div style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;">Over the centuries, Orsanmichele was transformed
from an oratory, to a grain market, to a pilgrimage site, and finally, a
sanctuary. Although its functional transformation is often emphasised,
its architectural alterations are what serve as visual evidence of the
building’s improved status. My original objective was to point out the architectural
transitions of Orsanmichele, however, this study has also introduced the building's functional changes, which underscores not only its physical transformations, but also its versatility. </span></span></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;"> ~Emily</span></span></div>
<div class="MsoNormal">
<br /></div>
<br />
<div>
<!--[if !supportFootnotes]--><span style="font-family: inherit;"><br clear="all" />
</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">"NGA - Monumental Sculpture from Renaissance
Florence."<span class="apple-converted-space"> </span><i>NGA -
Monumental Sculpture from Renaissance Florence</i>. Web. 02 Feb. 2014.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">"Orsanmichele Church and Museum - Florence."<span class="apple-converted-space"> </span><i>Orsanmichele Church and Museum -
Florence</i>. Web. 02 Feb. 2014.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">"Orsanmichele."<span class="apple-converted-space"> </span><i>Orsanmichele</i>.
SUNY Oneonta, Web. 02 Feb. 2014.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span></a> <span lang="EN-US">Orsanmichele
Church and Museum.<o:p></o:p></span></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span></a> <span lang="EN-US">Ibid.<o:p></o:p></span></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Zucker, Steven, and Beth Harris. "Orsanmichele | Art
History: Florence |Khan Academy."<i>Khan Academy</i>. Khan Academy, Web.
02 Feb. 2014.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></a> <span lang="EN-US">Orsanmichele
Church and Museum.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span></a> <span style="background-color: white;">"NGA
- Monumental Sculpture from Renaissance Florence."<span class="apple-converted-space"> </span></span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span><!--[endif]--></span></a> <span style="background-color: white;">"Orsanmichele
Church and Museum - Florence."<span class="apple-converted-space"> </span></span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">"Orsanmichele."<span class="apple-converted-space"> </span><i>Orsanmichele</i>. SUNY Oneonta,
Web. 02 Feb. 2014.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/The%20Transition%20of%20Orsanmichele.docx#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[11]</span></span><!--[endif]--></span></a> <span style="background-color: white;">"Orsanmichele
Church and Museum - Florence."<span class="apple-converted-space"> </span></span></span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: inherit; font-size: x-small;"><span style="background-color: white;"><span class="apple-converted-space"><br /></span></span></span>
<span style="font-size: xx-small;"><a href="http://www.hypersmash.com">www.hypersmash.com</a></span></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-60028663434685686622014-01-20T15:11:00.000+00:002014-01-20T22:10:17.345+00:00 Why so serious? Phallic trees and humour in medieval imagery<div style="text-align: justify;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGC_QWxw3zdJFRKCmurt_QYoo1E-KnBp1sEnIdR9aOnBx8RYAvJ_3Kz-_-GUQTciOPQvCMXBX857hwjQqaO3AZy0nEDDdHNJZrrRB0stfeDf_bNAsrTNU6PZtEL8fmWk1qxulMo1bJ0CNJ/s1600/tree_with_phalluse_450.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGC_QWxw3zdJFRKCmurt_QYoo1E-KnBp1sEnIdR9aOnBx8RYAvJ_3Kz-_-GUQTciOPQvCMXBX857hwjQqaO3AZy0nEDDdHNJZrrRB0stfeDf_bNAsrTNU6PZtEL8fmWk1qxulMo1bJ0CNJ/s200/tree_with_phalluse_450.jpg" height="131" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="JUSTIFY" style="margin-bottom: 0cm;">
Fig. 1 Detail, BNF fr. 25526, fol. 106v</div>
</td></tr>
</tbody></table>
<div style="text-align: justify;">
Several weeks ago the
image of a Phallus tree from an illuminated manuscript of the Roman
de la Rose (BNF fr. 25526) made rounds through the twittersphere
(Fig. 1). Originally tweeted by <a href="https://twitter.com/Sarah_Peverley" target="_blank">Sarah Peverly</a>, it was probably the
closest thing of to a<span style="color: magenta;"></span> hype a medieval image can get these days, not only
being shared and retweeted throughout social media, but also getting
attention from several blogs and even making it to the <a href="http://www.timeshighereducation.co.uk/news/medievalist-shares-ripe-fruit-of-penis-tree/2009606.article">Times
Higher Education</a>. I shared the image on Facebook as well and it
got the largest amount of attention compared to anything else ever
posted on my profile. So it seems that sex sells, even if the sex
predates the modern period. The way the image appeals to such<span style="color: magenta;"></span> a large modern audience intrigued me, so that I had a
look at the background of this kind of imagery<span style="color: magenta;"> </span></div>
<div style="margin-bottom: 0cm; text-align: justify;">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 0px; margin-right: 0px; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivW2PD9cbbpZW2r2-Uj2oJHzw0SSYApEZp2cOwZ2pP0ChOi_C24_nMp3bPrRab09u0tNwyuG7JmJSSmAbFmjJ4j2zTMHxy1yTv9cv5wdodsfcR8JHgcwpQAPH4ixkoxnHhLC-YjPyMKqi5/s1600/massa_marittima-mural.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivW2PD9cbbpZW2r2-Uj2oJHzw0SSYApEZp2cOwZ2pP0ChOi_C24_nMp3bPrRab09u0tNwyuG7JmJSSmAbFmjJ4j2zTMHxy1yTv9cv5wdodsfcR8JHgcwpQAPH4ixkoxnHhLC-YjPyMKqi5/s320/massa_marittima-mural.png" height="241" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 2 Massa Maritima Mural</td></tr>
</tbody></table>
<div style="text-align: justify;">
Phallic trees have in the
past been ascribed with a number of meaning by scholars. They have
been suggested to be related to ideas of fertility and infertility,
witchcraft and virgins and moral decline.<sup>1</sup>
Though some of these interpretations collide and debate on these
questions has been ongoing, I don't wish to side with one particular
reading. The appearance of the phallus tree in such different
contexts as the Mural in Massa Maritima (Fig. 2) and the manuscript
of the Roman de la Rose suggests, however, that its meaning is
largely object dependent and should not be generalised.</div>
<div style="margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div style="margin-bottom: 0cm; text-align: justify;">
Instead of siding with
one particular argument regarding these images, I wish to point out
one aspect that is repeatedly left out or only touched upon in
passing: the humour. These images makes us chuckle if not downright
laugh. To the modern audiences these images are first and foremost
entertaining despite their more complex meanings, which leads to our
introductory example to its wide dissemination over the internet.
But is it just that? The perspective of a modern viewer disconnected
from the serious meanings the visual imagery had for its medieval
audience?<br />
<br /></div>
<div style="margin-bottom: 0cm; text-align: justify;">
I cannot help but think
that the medieval audience, whether they also understood the
underlying meaning or not, might have initially reacted with a
chuckle as well. The joking aspect in these images have been
mentioned both in regards to the Massa Maritima Mural as well as for
the Phallus tree in the Roman de la Rose.<span style="font-style: normal;"><sup>2</sup>
Similar obscene humour can also be observed elsewhere as for example
in<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7sL1C_gOt9d8brPvaFT4s4Nnbt53mPDxbqDESHqd2YJWe04zUx_5Thsro2HN60Su_PUgSptw9emkBy-JoByd2pvDpBcAers8tob6DrMJ6Cbq5iAPeLb71WeutaM0u8tqFIy4hDC8v_Ymc/s1600/tumblr_lqulghUAPD1qggdq1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7sL1C_gOt9d8brPvaFT4s4Nnbt53mPDxbqDESHqd2YJWe04zUx_5Thsro2HN60Su_PUgSptw9emkBy-JoByd2pvDpBcAers8tob6DrMJ6Cbq5iAPeLb71WeutaM0u8tqFIy4hDC8v_Ymc/s200/tumblr_lqulghUAPD1qggdq1.jpg" height="153" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 3 Detail, <i><span style="font-style: normal;">Très
Riches</span></i><span style="font-style: normal;"> Heures, 9v, </span><br />
Musée Condé.</td></tr>
</tbody></table>
the exposed buttock of a peasant in the later </span><i><span style="font-style: normal;">Très
Riches</span></i><span style="font-style: normal;"> Heures </span><span style="font-style: normal;">(Fig.
3) or in the Miller's Tale of Chaucer's Canterbury Tales.</span> When
we think about the complex implications of such imagery we thus also
need to consider the humorous aspect. Based on the assumption that
medieval viewers would have reacted with amusement, would not the
artist himself been aware of this? This throws up further questions
as to how visual jokes worked and were used as communicative tool.
After all, serious content and jokes do not exclude one another. We
might just think of contemporary comedians who often address serious
social and political issues, nevertheless humour is their means of
transporting these ideas. Would it be possible to consider humour in
visual material in a similar way, as essential part of transporting
an intended meaning to its audience? A joke quite often
addresses that which is a taboo and deals with what cannot be spoken in
seriousness. Like the fool in Shakespearean plays, the joke can
tell the audience what no one else will say, unless they are willing to face social
sanctions. So it appears to me that this side of humorous imagery
needs to be analysed in more detail, in order to fully understand
what the visual material communicated to the audience, both the funny
and the serious side.</div>
<div style="margin-bottom: 0cm; text-align: justify;">
<br /></div>
<div style="margin-bottom: 0cm; text-align: justify;">
Yet, we must not forget
that humour changes. Not everything we might consider funny would
have been received in the same way by a medieval audience. Our own
humour can therefore not be reliable guide to find medieval jokes,
but needs to be evaluated on the background of medieval material.
However, the same is also true the other way around, what the
medieval eye might have discovered with laughter might create
discomfort in the modern viewer. I have come across this problem
recently in my own research when considering how humour might have
also been a tool in negotiating Self-identity in the face of the
<i>Other</i>. Images of violence, of obscenity and even of being the
victim of severe undeserved punishment keep appearing within the
context of the depiction of non-Christian. Their place in a discourse
of the Other is undisputed and they tend to make us uncomfortable as
they are signs of intolerance and of prejudice that we (hopefully)
have overcome. Yet, I started wondering whether our discomfort might
sometimes be a way of recognising that some of these images
might have been considered to be funny by their medieval audience.
After all, these images address important social anxieties in the
face of an experience of alterity. What role did the joke play in
these images and might they sometimes enable the viewer to laugh into
the face of the Other? I have not come to conclusions regarding this
issue so far, but it did make me consider that we might need to
reconsider the importance that humour might have played in many
visual materials.</div>
<div id="sdfootnote1" style="text-align: justify;">
<div class="sdfootnote">
<br />
-Fabian<br />
<br /></div>
<div class="sdfootnote">
<span style="font-size: x-small;">1 See
among others<span style="color: black;"> Ferzoco, George, </span><span style="color: black;"><i>The
Massa Marittima Mural</i></span><span style="color: black;">, (Florence: Regional
Council of Tuscany Central Communication Unit, 2004); Smith, Matthew
Ryan. "Reconsidering the 'Obscene': The Massa Marittima Mural."
Shift 2 (2009), 1-27; </span> Mattelaer, Johan J., "The Phallus
Tree: A Medieval and Renaissance Phenomenon', <i>Journal of Sexual
Medicine</i> 7:2 (2010), 846-51.</span></div>
<span style="font-size: x-small;">
</span></div>
<div style="text-align: justify;">
<span style="font-size: x-small;">
</span></div>
<div id="sdfootnote2" style="text-align: justify;">
<div style="text-align: justify;">
<span style="font-size: x-small;">
</span></div>
<div class="sdfootnote" style="text-align: justify;">
<span style="font-size: x-small;">2 <span style="color: black;">Smith,
Matthew Ryan. "Reconsidering the 'Obscene': The Massa Marittima
Mural." Shift 2 (2009), 5; </span><span style="color: black;">Camille,
Michael, Image on the Edge. The Margins of Medieval Art (London:
Reaktion, 1992) 147-149.</span></span></div>
<div class="sdfootnote" style="text-align: justify;">
<br /></div>
<div class="sdfootnote" style="text-align: justify;">
<span style="font-size: x-small;"><span style="color: black;">Images:</span></span></div>
<div class="sdfootnote" style="text-align: justify;">
<span style="font-size: x-small;"><span style="color: black;">1 http://www.timeshighereducation.co.uk/Pictures/web/m/n/a/tree_with_phalluse_450.jpg</span></span></div>
<div class="sdfootnote" style="text-align: justify;">
<span style="font-size: x-small;"><span style="color: black;">2 http://www.thehistoryblog.com/wp-content/uploads/2011/08/massa_marittima-mural-300x228.png</span></span></div>
<div class="sdfootnote" style="text-align: justify;">
<span style="font-size: x-small;"><span style="color: black;">3 http://media.tumblr.com/tumblr_lqulghUAPD1qggdq1.jpg</span></span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-23113974214784400932014-01-07T00:07:00.001+00:002014-01-07T00:20:39.248+00:00Happy New Year from Beyond Borders!<div class="MsoNormal">
<span style="font-family: inherit;">Happy New Year Beyond Borders Readers! It has been an
eventful year for Beyond Borders and we are thrilled to have had you all as
readers, guest bloggers, and friends as we continued our academic explorations
and discussions. In 2013 we reached our
one year anniversary, expanded our readership, and had many wonderful guest
bloggers. We hope to start 2014 with the same vigour and have decided to make a
few changes which will in turn lead to more great posts. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Some of you may have noticed that in the past few months we
have been posting every other week instead of every week. This will be a
permanent change for the blog which will coincide with a more academic calendar
to better suit all those working around a school schedule. We will be featuring
more posts involving trending topics in the field in hopes of creating a
discourse with other publications and readers.
The Beyond Borders Team will also be working on round table posts, which
will work much like a mini-series featuring a post from each of us on the same
subject matter. And of course, we welcome our fellow academics to contact us if
interested in guest blogging (<a href="mailto:beyondborders.blogger@gmail.com">beyondborders.blogger@gmail.com</a>).
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Happy New Year and Happy Blogging!<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">Sincerest Wishes,<o:p></o:p></span></div>
<br />
<div class="MsoNormal">
<span style="font-family: inherit;">The Beyond Borders Team</span><o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-91776741582419318682013-12-17T01:27:00.001+00:002013-12-17T02:39:11.809+00:00Creating Narratives: Thoughts on the New Life of Disassembled Manuscripts<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;">In
a recent reading of Elaine Treharne’s blog <i>Text
Technologies</i>, I am
particularly drawn to comment upon her two most recent posts '<a href="http://historyoftexttechnologies.blogspot.com/2013/11/the-broken-book-i-getty-exhibition.html" target="_blank">The Broken Book I: Getty Exhibition “Canterbury and St. Albans: Treasures from Church and Cloister”</a>' and '<a href="http://historyoftexttechnologies.blogspot.com/2013/11/the-broken-book-ii-from-book-of-hours.html" target="_blank">The Broken Book II: From a Book of Hours to a Book of Bits,</a>' which considers the
implications<b> </b>of
the dismantled the book and the dissemination of its pages.
In these two posts Treharne aptly discusses the decontextualised
nature of a deconstructed book, which,
per my understanding of her posts, not only disregards the intended
functionality of the folios, but also defiles the book as an object
via the dispersal of its contents.
</span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;"><br /></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;">At
this juncture, I shall take the opportunity to clarify that I concur
with Treharne’s arguments and support her cause to maintain the
integrity of manuscripts. However
these posts have
sparked an alternate line of inquiry for
me, which I deem
should be examined with regard to the fact that manuscripts are
currently, and have been at certain points in history, altered or
completely deconstructed for one reason or another. Hence, I posit
that we as academics consider
what new meaning, if any, the disseminated part of a manuscript
embodies vis-<span style="color: black;">à</span>-vis
its meaning in book form.</span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;"><br /></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;">Let
us consider a hypothetical example of a folio removed from a medieval Turkish
manuscript on the practice of medicine. This illuminated folio, along with many others, is now sold in market
places where tourists and other interested buyers congregate to
purchase a piece of history to transport home. Envision the
manuscript, a bound object comprised of pages that were intentionally
created to fulfill a certain purpose. These pages are filled with
text and image that were once used to impart knowledge to both
established and aspiring physicians, but is now dismantled in order
to be sold to laymen who may or may not be cognisant of the folio’s
original intended purpose. Is it symbolic, insofar that it acts as
representation of a unit of meaning for the new owner’s life
experiences? Do these pages convey a completely new narrative, or are
they now a disjointed aspect of a chronicle that is now lost?
Finally, has the folio lost its ‘bookishness’?
</span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;"><br /></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;">In
keeping with the example of the pages from the Turkish medical
treatise, it may be suggested that in the
possession of a physician, these pages may be a textual and pictorial
embodiment of a vocation that existed long before his lifetime, but
at the same moment speaks of his occupation today. Within this
context, the now disembodied elements of the book are redefined. They
are no longer a manner in which to teach about medicine, but are now
a vehicle that link time and space, insofar that these folios
represent the history of the owner’s occupation through the lens of
another culture at a different point in time. This representation
does not alienate the physician from his place within medicine today,
but instead it intertwines his practice with those of the past. This
creates a new narrative for the physician about his own experiences
as a doctor in light of the experiences of the medical practitioners of the past who
now exist within the realm of historical narratives. With this in
mind, the folios may then symbolise medical practice and perpetuate
the concept of a time continuum of occupational community for the new
owner. </span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;"><br /></span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="font-family: inherit;">The example provided is meant to engender a thought process that considers the potential for new meaning. It cannot speak for each folio from a disassembled
book, and in an alternate scenario, the folio may be further removed from its original intended function, but an ontological change may still occur. Even though the book that once held
these pages together has now lost its primary functionality, its
contents may acquire a new purpose. I will not suggest that this new
purpose is more important than the book’s original intended
function, nor that the act of defiling a book is in anyway
appropriate. I will suggest, however, that a book that has had its
pages removed from its bindings does not indicate its death, but
instead it calls for a reconsideration of the ontological state of
its contents. But, does this mean that the pages themselves have lost
their essence of being part of a book? I would initially suggest that a page that has been physically removed from its original form cannot be stripped of its origins. However, I shall leave this for further
discussion. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">~Shandra</span></div>
<h1 align="JUSTIFY" class="western" style="font-weight: normal;">
<br />
</h1>
<div align="JUSTIFY" style="font-weight: normal;">
<br />
<span style="font-size: xx-small;"><a href="http://www.hypersmash.com">Hyper Smash</a></span></div>
<h1 class="western" style="font-weight: normal;">
</h1>
<div style="margin-bottom: 0cm;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-13823281892090318092013-12-04T04:07:00.000+00:002013-12-04T04:42:47.166+00:00The Appropriation of the Cosmati and Cosmatesque<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;">The Roman Medieval Cosmati works of the </span></span><span style="line-height: 115%;"><span style="font-family: inherit;"><span style="line-height: 115%;"><span style="font-family: inherit;">tenth to the thirteenth</span></span>
century may have been an innovation in church ornamentation for the period,
but the material and content presented in the patterns are appropriated from
years past. The Roman craftsmen repurposed ancient stones like porphyry,
serpentine, and Carrera marble from ruined sites, using the stones in the
laying of floors at Christian houses of worship. The patterns in the floors,
though laden with Christian symbolism, were also based upon Classical
philosophies involving the Platonic and Aristotelian elements and the cosmos.
In this post, I will discuss the significance of appropriated
material and concepts in Medieval Cosmati pavements, and then consider the Victorian revival of the Cosmatesque in the United Kingdom. <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span style="line-height: 115%;">The spolia used in Medieval Roman pavements were not transported from afar-- the stones were taken from ruined</span></span><span style="color: orange; font-family: inherit; line-height: 115%;"> </span><span style="font-family: inherit;"><span style="line-height: 115%;">Classical sites. For the
Classical construction to be possible, the stones travelled a great distance,
including porphyry from modern-day Egypt. Egyptian porphyry was
used in pagan houses of worship,</span></span> <span style="font-family: inherit;"><span style="line-height: 115%;">and later </span></span><span style="line-height: 18px;">re-purposed</span><span style="font-family: inherit;"><span style="line-height: 115%;"> in
locations like Santi Quattro Coronati (4</span></span><sup style="font-family: inherit; line-height: 115%;">th</sup><span style="font-family: inherit;"><span style="line-height: 115%;"> century pagan origins, 6</span></span><sup style="font-family: inherit; line-height: 115%;">th</sup><span style="font-family: inherit;"><span style="line-height: 115%;">
century Christian conversion, 12</span></span><sup style="font-family: inherit; line-height: 115%;">th</sup><span style="font-family: inherit;"><span style="line-height: 115%;"> century completion), and at the
height of Cosmati creation, moved as far away as London in the laying of the
Westminster pavement (13</span></span><sup style="font-family: inherit; line-height: 115%;">th</sup><span style="font-family: inherit;"><span style="line-height: 115%;"> century completion).</span></span><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn1" name="_ftnref1" style="font-family: inherit; line-height: 115%;" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a><span style="font-family: inherit;"><span style="line-height: 115%;"> Serpentine
is found mostly in mainland Greece, linking the famous baldachin of St. Peter’s the home of Classical philosophy. This transaction of materials makes the interchange
of ideologies more plausible. The following images and analyses serve as examples of exchange of material and cultural goods.</span></span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDbtKnlwpBl7-KCQcVkL986PgLoKkqwxyBuk3k6gVM3Z56rQErACNbiyqSmhM8wkfFNbWYNfzEeQQVqF4tSLGvDz4BHfNNvBpiCOOlsMGaUIwXx6Wu_Wr5b240kaKCn2Vz5LEGUSllIZz/s1600/SQC.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvDbtKnlwpBl7-KCQcVkL986PgLoKkqwxyBuk3k6gVM3Z56rQErACNbiyqSmhM8wkfFNbWYNfzEeQQVqF4tSLGvDz4BHfNNvBpiCOOlsMGaUIwXx6Wu_Wr5b240kaKCn2Vz5LEGUSllIZz/s1600/SQC.JPG" height="300" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Cosmati Pavement in the San Silvestro Chapel at Santi Quattro Coronati, Rome</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="font-family: inherit;"><u><span style="line-height: 115%;">St.
Silvestro Chapel at Santi Quattro Coronati (SQC), Rome: </span></u></b><span style="font-family: inherit; line-height: 115%;">SQC is home to two Cosmati pavements: one within the main basilica, the other within the St. Silvestro Chapel. The pavement in the St.
Silvestro Chapel predates that of the main basilica and has a several symbolic
features placed within the spolia stones. The prominent shape in this pattern
is the quincunx (one form surrounded by four so that the four make the corners of a
square). The three here could represent the Trinity, which is alluded to by the
white cross in the quincunx nearest the entrance. The white marble may
represent peace or purity, but perhaps it is more likely that it represents
Christ at the centre of the universe, as suggested by the quincunx at the
Westminster pavement. The abundant use of porphyry is perhaps a reference to
royalty, as in the divine royalty of Christ, or the royalty of Constantine who
is portrayed in the chapel’s famous mosaic.<span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn2" name="_ftnref2" title="">[2]</a></span></span></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit; line-height: 115%;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><br /></span></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-C0FAOuRiuc-9n60R6TBqr8T5wW7tFh5B7yIvVBL96LyndEncaVh8b9VH9kTh14nPF5laTgqg4UvhRviWeDPhUmzWYSb_c4ZwyNy5VpDRd5Bk9ZlEZpTcvkc_3ePX-bLdhRewO0vNR32/s1600/Westminster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih-C0FAOuRiuc-9n60R6TBqr8T5wW7tFh5B7yIvVBL96LyndEncaVh8b9VH9kTh14nPF5laTgqg4UvhRviWeDPhUmzWYSb_c4ZwyNy5VpDRd5Bk9ZlEZpTcvkc_3ePX-bLdhRewO0vNR32/s1600/Westminster.jpg" height="398" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Westminster Abbey Cosmati Pavement</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<b style="font-family: inherit;"><u><span style="line-height: 115%;">Westminster
Abbey, London:</span></u></b><span style="font-family: inherit; line-height: 115%;"> As mentioned in the SQC analysis, the
quincunx is often thought to be a representation of the universe. This is due
an inscription that once was inset around the Westminster pavement describing
it as “the eternal pattern of the universe.”<a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></a> This
inscription is the only one of its kind, making the Westminster pavement the
only <span style="background-color: white;">labelled</span> Cosmati work. Scholars like Lindy Grant, Richard Mortimer, and
Richard Foster have greatly elaborated on pattern, but to sum up their studies,
the quincunx represents the four Platonic elements in the exterior orbs, and
the Aristotelian fifth element, <i>aether</i>,
in the centre. These elements were considered<span style="color: orange;"> </span>constants in universe. As science and religion
often overlapped in the Middle Ages, the quincunx and the elements that make up
the universe also had a religious interpretation, one in which God replaced <i>aether</i> and the four elements would be
the four Evangelists. In the case of SQC, perhaps the four arms represent the
Four Crowned Martyrs.</span></div>
<div class="MsoNormal">
<span style="font-family: inherit; line-height: 115%;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKKEIAir22UjqyoFYxWwAkCJUA0TySHXqHsQ5oTHsTd-dxwwm_L8PCNnNAHhgazZeu-rEFt81EujgC0Qj3wWdLfZRQ4wIt55r_adekzViu7QeFb_tbYCxKlLhYd34FFWfpXmWSGZK7ecrP/s1600/sistine+roundel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKKEIAir22UjqyoFYxWwAkCJUA0TySHXqHsQ5oTHsTd-dxwwm_L8PCNnNAHhgazZeu-rEFt81EujgC0Qj3wWdLfZRQ4wIt55r_adekzViu7QeFb_tbYCxKlLhYd34FFWfpXmWSGZK7ecrP/s1600/sistine+roundel.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Large quincunx roundel of the Sistine Chapel Cosmati pavement</span></td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEWtnEIYlaXNafXFOBe5W0om8667c05jDx99E_4yO6RqwyyLoNmNoP_NfF6TZP9BNlBgmzIAWXf4V6PozZwnIfn07fqPZv4dZBEWZ40S4wOhnh4i6fA3xckef4EyHGxzF0wE8SpmlFfjO2/s1600/sistine.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEWtnEIYlaXNafXFOBe5W0om8667c05jDx99E_4yO6RqwyyLoNmNoP_NfF6TZP9BNlBgmzIAWXf4V6PozZwnIfn07fqPZv4dZBEWZ40S4wOhnh4i6fA3xckef4EyHGxzF0wE8SpmlFfjO2/s1600/sistine.jpg" height="320" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Sistine Chapel</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<b style="font-family: inherit;"><u><span style="line-height: 115%;">Sistine
Chapel at St. Peter’s Basilica, Vatican City:</span></u></b><span style="font-family: inherit; line-height: 115%;">
Like the pavements of SQC and Westminster, the Sistine Chapel pavement features<span style="color: red;"> </span>a
quincunx. The pavement seen here is under Michelangelo’s famous ceiling, but do
note that there is another pavement in the <i>Stanza
della Signatura</i> which features the cross keys of St. Peter. This pavement
is significant as it sits under the image of God creating Adam, which is
consistent with the cosmological reference made by the Westminster inscription. Additionally, the nine rings that make up the roundels of the larger quincunx (seen above) are perhaps another reference to the heavens, particularly the nine levels of Purgatory so famously written about by Dante.</span><br />
<span style="font-family: inherit; line-height: 115%;">This theory needs further
investigation on my part, but considering the nine layers and Dante’s <i>Purgatorio</i> certainly makes an intriguing
query. </span></div>
<div class="MsoNormal">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><b><u><span style="line-height: 115%;">Monreale
Cathedral, Sicily:</span></u></b><span style="line-height: 115%;"> Lastly I would like to examine the
pavement at the Monreale Cathedral in Sicily. Although not part of Rome, Sicily
and Naples were part of the Holy See.<a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span></a>
This connection with Rome made for many shared cultural practices, but the
lifestyle in the south was different from that of Rome as<span style="color: orange;"> </span>Sicily was
influenced by Muslim culture until the Normans conquered in 1072, which led to
the structure we see today.<a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span></a>
The original worship centre of Monreale was a small church. The
structure as it can be seen today was built by King William II in the early twelfth century
(circa 1174). The Roman quincunx is present at Monreale, but the Islamic <i>muqarna</i> has become the more featured
geometric form. In many eastern cultures, the eight-pointed star represents p<span class="apple-style-span">rotection, spiritual
enlightenment, resurrection, rebirth, infinity and abundance.</span><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span style="color: black;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"> In Islam there are seven
hells and eight paradises, perhaps making the <i>muqarna</i> a symbol of paradise.</span><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span style="color: black;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"> Christianity<span style="background-color: white;"> uses the number </span>eight in art and design because after the flooding of the world and Noah’s ark, eight
people were saved in this “mass baptism,” thus resulting in eight-sided
baptisteries and churches.</span><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><span style="color: black;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"> As discussed in former posts,
the number 8 is also infinity when turned upon its side.</span></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<span style="font-family: inherit; line-height: 115%;">What can be
concluded from the medieval Cosmati works is that both material and content are
spolia. The same can be said for Victorian adaptation of Cosmati-style
pavements known as the Cosmatesque. One of the most highly-recognized Victorian
Cosmatesque pavements is that of Durham Cathedral. The material of the choir and high altar pavements are
predominately sandstone, but the pattern includes a multitude of geometric forms borrowed from pavements created before its time.
The pavement was laid by Sir Gilbert Scott in 1870 during a renovation of the
cathedral, which also included alterations to the towers, foundation, and
smaller damages to the structure.</span><br />
<span style="font-family: inherit; line-height: 115%;"><br /></span>
<span style="font-family: inherit;"><span style="line-height: 115%;">Cosmati
works have long been a favourite of mine for their intricate patterns and bold
colours, but what is truly incredible is the long history of exchange of
materials, content, and craft of the pavements. The exchange of material is evidence of long-standing economic agreement between a multitude of cultures, but the patterns of the pavement express a cultural exchange. The geometric symbolism is a tradition of religious and scientific understanding passed down from ancient times, to medieval scholars and in turn, craftsman, and later adapted by Victorian patrons in their great refurbishment. The Westminster inscription reveals that the quincunx pattern is best called the "eternal pattern of the universe," </span></span><span style="font-family: inherit;"><span style="line-height: 115%;">but the process of creating these pavements reveals a pattern of cultural exchange. </span></span><br />
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<span class="apple-style-span"><span style="line-height: 115%;"><span style="font-family: inherit;"> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwZr6i51V9cyMqWOAFq3An04RH32q66CQVL0DLj37BfEI8x_dNi0qlNlWRKTm-Nl16bROiG2esaPR10sDcbLQaKg8WkKk2aM8-MT-oC6tLxm4dCTfYsS5pwumDiCuEUBFH97Mr4nNJMM5/s1600/durham.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrwZr6i51V9cyMqWOAFq3An04RH32q66CQVL0DLj37BfEI8x_dNi0qlNlWRKTm-Nl16bROiG2esaPR10sDcbLQaKg8WkKk2aM8-MT-oC6tLxm4dCTfYsS5pwumDiCuEUBFH97Mr4nNJMM5/s1600/durham.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">View of the Victorian Cosmatesque Pavement</span></td></tr>
</tbody></table>
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<span style="line-height: 115%;"><span style="font-family: inherit;"> ~Emily</span></span></div>
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<div id="ftn1">
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<a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 10pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: x-small;"><span style="font-family: "Times New Roman","serif";"> <a href="http://understandingrome.wordpress.com/page/2/"><span style="color: windowtext;">http://understandingrome.wordpress.com/page/2/</span></a></span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
</div>
<div id="ftn2">
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif; line-height: 115%;">[2]</span></span><!--[endif]--></span></a> <span class="apple-style-span"><span style="background-color: white; font-family: 'Times New Roman', serif;">Mitchell, John. "St. Silvester and
Constantine at the SS. Quattro Coronati." In</span></span><span class="apple-converted-space"><span style="background-color: white; font-family: 'Times New Roman', serif;"> </span></span><i><span style="background-color: white; font-family: 'Times New Roman', serif;">Federico II E L'arte
Del Duecento Italiano, Atti Della III Settimana Di Studi Di Storia Dell' Arte
Medievale Dell 'Universita Di Roma</span></i><span class="apple-style-span"><span style="background-color: white; font-family: 'Times New Roman', serif;">,
15-32. Vol. II. Galatina, 1980.; Barelli, Lia. "Brief History of the
Monastery Complex of Ss. Quattro Coronati in Roma." Monastero Dei Ss.Quattro
Coronati. 1999. http://www.santiquattrocoronati.org/index_enn.htm.</span></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif; line-height: 115%;">[3]</span></span><!--[endif]--></span></a> <span style="background-color: white; font-family: 'Times New Roman', serif;">Richard
Foster,<span class="apple-converted-space"> </span></span><i><span style="font-family: 'Times New Roman', serif;">Patterns of Though:
The Hidden Meaning of the Great Pavement of Westminster Abbey</span></i><span class="apple-converted-space"><span style="background-color: white; font-family: 'Times New Roman', serif;"> </span></span><span style="background-color: white; font-family: 'Times New Roman', serif;">(London: Butler and
Tanner, 1991), pg. 3.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span></span></a><span style="font-family: "Times New Roman","serif";"> <span class="apple-style-span"><span style="background-color: white;">Mitchell, John. "St. Silvester and
Constantine at the SS. Quattro Coronati." In</span></span><span class="apple-converted-space"><span style="background-color: white;"> </span></span><i><span style="background-color: white;">Federico II E L'arte Del Duecento
Italiano, Atti Della III Settimana Di Studi Di Storia Dell' Arte Medievale Dell
'Universita Di Roma</span></i><span class="apple-style-span"><span style="background-color: white;">, 15-32. Vol. II. Galatina, 1980.</span></span></span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
</div>
<div id="ftn5">
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span></span></a><span class="apple-style-span"><span style="background-color: white; font-family: 'Times New Roman', serif;">Krönig, Wolfgang.</span></span><span class="apple-converted-space"><span style="background-color: white; font-family: 'Times New Roman', serif;"> </span></span><i><span style="background-color: white; font-family: 'Times New Roman', serif;">The Cathedral of
Monreale and Norman Architecture in Sicily. </span></i><span style="background-color: white; font-family: 'Times New Roman', serif;">15. </span><span class="apple-style-span"><span style="background-color: white; font-family: 'Times New Roman', serif;">Palermo: S.F. Flaccovio, 1965.</span></span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></span></a><span style="font-family: "Times New Roman","serif";"> </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;">Number
Symbolism 8—Britannica Online Encyclopedia. “Encyclopedia-Britannica Online”.
Web. <</span><span style="font-family: "Times New Roman","serif";"><a href="http://www.britannica.com/EBchecked/topic/1086220/number-symbolism/248165/8"><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US;">http://www.britannica.com/EBchecked/topic/1086220/number-symbolism/248165/8</span></a></span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;">.><o:p></o:p></span></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></span></a><span style="font-family: "Times New Roman","serif";"> </span><span lang="EN-US" style="font-family: "Times New Roman","serif"; mso-ansi-language: EN-US;">Ibid.<o:p></o:p></span></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif";"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span></span></a><span style="font-family: "Times New Roman","serif";"> <span style="background: white;">Joost-Gaugier,
Christine L.</span><span class="apple-converted-space"> </span><i>Measuring
Heaven</i><span style="background: white;">. Ithaca: Cornell University, 2006. 167-168. Print.</span></span></span><span lang="EN-US"><o:p></o:p></span></div>
</div>
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com2tag:blogger.com,1999:blog-5078577775807134423.post-64083415474669404082013-11-19T15:20:00.001+00:002013-11-19T15:20:24.791+00:00Capsula, Capsella, and Insular House-shaped Shrines<div style="text-align: justify;">
In this post I would like to introduce the topic of Insular house-shaped
shrines. These small containers, often regarded as reliquaries, have
long puzzled art historians and archaeologists alike. Indeed,
house-shaped shrines are wonderful examples of the complexity of
studying early medieval art, especially in the British Isles and
Ireland, as many of the textual sources are fragmentary, as are many of the
shrines themselves. In this post I will introduce the issues surround
the study of these enigmatic artefacts by focusing on the Monymusk
shrine and the works of David Caldwell, Erika von Erhadt-Siebold, and
Neil O’Donoghue. <br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: 0px; margin-right: 0px; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYq5Wh-_DQSSN2qRJqCV6ynaieUFilQ7yih7D2uAdBVMqPmfXMWV7kmwA3DnXU18a7r0Wk6pdmZVW-V1TrDQJ2LeAlyuBcPbi65JnZPhpx7CkOM3HvGQwAivvuv1Cqh73NxKvEXnFrDIw3/s1600/820967320105ca94b1fc770d22cf1d2b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYq5Wh-_DQSSN2qRJqCV6ynaieUFilQ7yih7D2uAdBVMqPmfXMWV7kmwA3DnXU18a7r0Wk6pdmZVW-V1TrDQJ2LeAlyuBcPbi65JnZPhpx7CkOM3HvGQwAivvuv1Cqh73NxKvEXnFrDIw3/s320/820967320105ca94b1fc770d22cf1d2b.jpg" width="319" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Side of the Monymusk Reliquary</span></td></tr>
</tbody></table>
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<br />
One of the earliest ascribed functions of
house-shaped shrines was that <span style="background-color: white;">of a reliquary</span>. The Monymusk shrine was
attributed the status of the <i>Breccbennach </i>of St Columba by Joseph
Anderson in 1880.[1] The <i>Breccbennach</i>, or ‘blessed shrine’ as Anderson
understood the term, was a reliquary associated with St Columba and the
Monastery of Arbroath.[2] The <i>Breccbennach </i>was reportedly carried into
battle at Bannockburn in 1314.[3] In 2001, Caldwell questioned
Anderson’s original interpretation on three fronts. Firstly, Caldwell
noted that there are no surviving references to the shape or decoration
of the <i>Breccbennach </i>and thus it cannot be known if the Monymusk shrine
is indeed the <i>vexilla</i> referred to in the texts. Indeed, Isidore of
Seville noted in his <i>Etymologiae </i>that the term <i>vexillum </i>was primarily a
military term denoting a banner or ‘battle-sign, having its name drawn
from the diminutive of ‘sail’ (<em>velum</em>), as if it were <i>velxillum</i>’.[4]
Furthermore, the Latin hymn <i>Vexilla regis prodeun</i>t written by Venantius
Fortunatus related the term <i>vexilla </i>to the Cross, ‘Vexilla Regis
prodeunt/Fulget Crucis mysterium,/quo carne carnis conditor,/suspensus
est patibulo’.[5] Secondly, Monymusk House, where the shrine was found,
only dates to the sixteenth-century. Tied with this issue, the estate of
Monymusk has changed ownership since the original
hereditary keepers of the <i>Breccbennach </i>were granted the shrine.[6]
Thirdly, the nearby Priory of Monymusk, a successor of a previous house,
was founded in the twelfth century and offers a more local origin for
the shrine separate from the tradition of St Columba.[7] When Duns
referred to house-shaped shrines as reliquaries in the 1880s, he did so
due to the <i>Breccbennach </i>status of the Monymusk shrine.[8] </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 0px; margin-right: 0px; text-align: left;"><tbody></tbody></table>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 0px; margin-right: 0px; text-align: left;"><tbody>
<tr><td style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3VSyRtOlN0apsaMs0zw3ZNXsMNXhaskfgODitB4dCg5QgIrOPtGTknzKMo73LNRpVUBOVzLYb4Hm37AC6nugjxi1msOnAZKY8g_FVy7uzp_AFJ7YzA0Od4Ec2ejFCdW9aUhSfSkNJzwBU/s1600/Monymusk+reliquary+inside_tcm4-562912.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3VSyRtOlN0apsaMs0zw3ZNXsMNXhaskfgODitB4dCg5QgIrOPtGTknzKMo73LNRpVUBOVzLYb4Hm37AC6nugjxi1msOnAZKY8g_FVy7uzp_AFJ7YzA0Od4Ec2ejFCdW9aUhSfSkNJzwBU/s320/Monymusk+reliquary+inside_tcm4-562912.jpg" width="320" /></a></span></span></td></tr>
</tbody></table>
<div style="text-align: justify;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 0px; margin-right: 0px; text-align: left;"><tbody>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: inherit;"><span style="color: white; font-size: small;">Inside the Monymusk Reliquary</span></span></td></tr>
</tbody></table>
<div style="text-align: justify;">
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 0px; margin-right: 0px; text-align: left;"><tbody></tbody></table>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="font-size: small;"><br /><br /><br />Scholarship
by both Conway and Blindheim continued linking house-shrines to
reliquaries through Monymusk. While Blindheim was primarily concerned
with establishing the Insular connections of the continental
house-shrines, Conway sought to demonstrate the connection between
Insular house-shaped shrines and continental purse-shaped reliquaries.
However, both studies assumed that the Monymusk shrine was indeed a
reliquary and used this as a cornerstone of their arguments.[9] As such,
subsequent interpretations of house-shaped shrines as reliquaries,
which are predicated on the reliquary status of the Monymusk shrine,
must be called into question.<br /><br />Further attempts to determine the
function of house-shaped shrines through identifying textual references to
their use in the <i>Lives of the Irish Saints</i> noted that the Irish term <i>
menistir </i>could designate either a portable reliquary or Eucharistic
vessel; however, the term lacked a detailed description of what a <i>
menistir </i>may have looked like.[10] Additionally, Erika von
Erhadt-Siebold’s work on the fifty-fifth riddle of Aldhelm’s (c.
639-709) <i>Enigmata</i>, demonstrated that the subject of the riddle, the
chrismal, could be seen as a description of house-shrines,[11]</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: inherit;"><span style="font-size: small;">Alma domus veneror divino munere plena,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Valvas sed nullus reserat nee limina pandit,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Culmina ni fuerint aulis sublata quaternis,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Et licet exterius rutilent de corpore gemmae,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Aurea dum fulvis flavescit bulla metallis,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Sed tamen uberius ditantur viscera crassa</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Intus, qua species flagrat pulcherrima Christi:</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Candida sanctarum sic floret gloria rerum,</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Nec trabis in templo, surgunt nee tecta columnis.[12]</span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br />Von
Erhardt-Siebold dissected the Latin of Aldhelm’s riddle <i>Chrismal sive
Chrismarium</i>, in particular the section which she believed described
opening chrismals. Von Erhardt-Siebold went on to state, ‘<i>aulae </i>are
simply the corners of the chest and <i>quaternus </i>stands for quarter…thus
the roof (or roofs—since the lid is composed of two principle parts) is
lifted from the four corners’.[13] Indeed, Aldhelm further describes the
decoration of the shine as being made of precious materials, along with
the lack of obvious openings. As such, Aldhelm is describing a
container which glistens and opens from the top, just like the Monymusk shrine. Aldhelm’s description
is potentially the only reference to what a house-shaped shrine may have looked
like.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTrG19YAtLrwuUCXE85J1PyoDtOekwE5T_mf_fkQ02qNRYImDsly-2pBaLqhSJyUI4cWNxW9l8nRuq16-_YxEzR7KWlvpuHMsMGmakvwWf4Y-Dlhj3xWSQMU8cZwhVHHiK_fBiHYGGoj2R/s1600/484px-Monymusk_Reliquary_NMoS_02.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTrG19YAtLrwuUCXE85J1PyoDtOekwE5T_mf_fkQ02qNRYImDsly-2pBaLqhSJyUI4cWNxW9l8nRuq16-_YxEzR7KWlvpuHMsMGmakvwWf4Y-Dlhj3xWSQMU8cZwhVHHiK_fBiHYGGoj2R/s320/484px-Monymusk_Reliquary_NMoS_02.JPG" width="201" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Side view of the shrine showing<br />the various components<br /> of its construction.</span></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br /><br />While the chrismal was often used to carry the Eucharist,
von Erhadt-Siebold noted that the terminology was highly fluid in the
early medieval period indicating that a <i>chrismal </i>could be used to carry
oil, the Eucharist, dust from a saint’s grave, or even acting as a relic
in its own right.[14] Indeed, the title of the riddle, <i>Chrismal sive
Chrismarium</i>, denotes a level of fluidity by referencing two possible
terms. Therefore, possibly the most explicit reference to the form and
decoration of a <i>chrismal </i>represents a complex network of co-meaning as
the use of <i>sive </i>implies that Aldhelm knew the subject of his riddle
would be known by multiple names and functions. Indeed, Bishop Heraldus
of Tours mentioned the practice of carrying oil and the Eucharist in the
chrismal, ‘Ut presbyteri chrisma, oleum, et Eucharistiam semper
habeant, ut parati inveniantur’.[15]</span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="font-size: small;"><br /><br /><br />Drawing on these Eucharistic
connections, O’Donoghue critiqued the previously held interpretations
of house-shaped shrines as reliquaries and instead argued that references to
chrismal<i> </i>in early medieval texts noted containers commissioned
exclusively for chrism and the Eucharist, not relics.[16] O’Donoghue
cited the theological and practical importance of the Eucharist in <i>The
Pontifical of Egbert</i>, <i>Missale Francorum</i>, and the <i>Sacramentatium
Gelasianum</i>’s blessings of the chrismal during the <i>Praefatio
Crismalis</i>.[17] O’Donogue highlighted the prayers’ emphasis on Christ as
seen in his translated portion of the prayer from the Pontifical of
Egbert, ‘Omnipotens Deus, trinitas insepa-/rabilis, minibus nostris opem
tue/benedictionis infunde, ut, per nostram/benedictionem, hoc vasculum
sanctificetur, et corporis Christi novum/sepulchrum Spiritus Sancti
gratia perficiatur’.[18] While the text does refer to the body of Christ
(<i>corporis Christi</i>), in his interpretation, O’Donoghue does not note the
varying application of the term <i>chrismal </i>nor the use of the term <i>
capsula </i>and <i>capsella </i>in nonliturgical sources. In Bede’s <i>Historia
ecclesiastica gentis Anglorum</i>, he describes how the missionary Germanus
uses of a small bag or box, worn around his neck, to cure a girl’s
blindness, ‘adherentem lateri suo capsulam cum sanctorum reliquiis collo
auulsam manibus conprehendit, eamque in conspectus omnium puaella
oculis adplicuit’.[19] The same term is used when the abbess Æthelhild
begged Queen Osthryth for some of St Oswald’s relic soil, and thereupon
wrapped it in cloth and secured it in a small box, ‘et accipiens
inligatum panno condidit in capsella’.[20] These are the snipits we must
ruminate over in order to uncover the possible functions of
house-shaped shrines.<br /> </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;">Through examining Aldhelm's riddle it becomes apparent that objects similar to the Monymusk shrine, ones which possess glistening metallic bosses and 'roofs' which open from the top, were related to the term <i>chrismal</i> at least by the tenth century. Unfortunately, the term <i>chrismal </i>is not altogether clear and many of the Insular house-shaped shrines were created possibly centuries earlier. While there is a Eucharistic connection inherent to the term <i>chrismal</i>, when examining nonliturgical sources house-shaped shrines functionality is again problematised as terms such as <i>capsella </i>and <i>capsula </i>are used to describe small caskets. What we can be sure of is that Insular house-shaped shrines possess similar constructional elements, namely the same means of opening, overall shape in their trapezoidal roofs, and finally in suspension straps which would have allowed them to be hung or worn, possibly around the neck as Bede reports. Sadly I do not have a simple conclusion for this post, as I am presently researching the material, construction, and the possible references to house-shaped shrines as part of my PhD at the University of Edinburgh. Perhaps in a year or two I may have a clearer idea of what these enigmatic caskets contained but for now it appears the Aldhelm's riddle will have to remain just that. </span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"></span></span><br />
<span style="font-family: inherit;"><span style="font-size: small;"><br /><br />-Samuel<br /><br /><br />________________________________<br />Figures 1 and 2- NMS</span></span><br />
Figure 3 - Creative Commons, submitted by Nachosan to Wikipedia</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="font-size: small;"><br />[1]
Anderson, Joseph. "Notice of an Ancient Celtic Reliquary Exhibited to
the Society by Sir Archibald Grant, Bart., of Monymusk." Proceedings of
the Society of Antiquaries of Scotland 14 (1879-80): 431-35.<br />[2]
‘To determine that the Breccbennach must have been similar to the
Cathach because they were both Celtic vexilla equally fails to convince.
Anderson’s explanation of the meaning of the word Breccbennach—‘the
blessed one’—is rejected by Gaelic scholars who, as noted above, prefer
‘the speckled, peaked one’. This later description might cover a shrine
like the Monymusk Reliquary, but is not particular enough to exclude its
application to other classes of objects, including flags.’ Caldwell,
David. "The Monymusk Reliquary: The Breccbennach of St Columba?"
Proceedings of the Society of Antiquaries of Scotland 131 (2001): 278.<br />[3]
Caldwell, David. "The Monymusk Reliquary: The Breccbennach of St
Columba?" Proceedings of the Society of Antiquaries of Scotland 131
(2001): 278.<br />[4] Isidore of Seville Book XVII, iii, 5. Isidore.
The Etymologies of Isidore of Seville. Trans. Stephen A. Barney.
Cambridge: Cambridge UP: 361.<br />[5]The banner of the Kings comes
forth/Now shines forth the Mystery of the Cross/Where the Creator of the
Flesh, is flesh/who was hanged on the gallows’. Venantius Fortunatus.
Analecta Hymnica Medii Aevi. Ed. Clemens Blume and Guido Dreves.
Leipzig: O.R. Reisland, 1907 : 74;Edwards, Jennifer. "Their Cross to
Bear: Controversy and the Relic of the True Cross in Poitiers." Essays
in Medieval Studies 24 (2007): 69.<br />[6] Caldwell, David. "The
Monymusk Reliquary: The Breccbennach of St Columba?" Proceedings of the
Society of Antiquaries of Scotland 131 (2001): 278.<br />[7] Stuart, John. Sculptured Stones of Scotland. Aberdeen: Bennett, 1867: 75-6;<br />[8]
Duns, D. "Notice of an Ancient Celtic Reliquary Ornamented with
Interlaced Work." Proceedings of the Society of Antiquaries of Scotland
14 (1879-80): 286-7.<br />[9] Conway, William. "Portable Reliquaries
of the Early Medieval Period." Proceedings of the Society of Antiquaries
of Scotland 31 (1918-9): 235-8; Blindheim, Martin. "A House-Shaped
Irish-Scots Reliquary in Bologna, and Its Place Among the Other
Reliquaries." Acta Achaeologica 55 (1984): 1-53.<br />[10] Plummer, Charles. Bethada Náem NÉrenn; Lives of Irish Saints. Oxford: Clarendon, 1922: 356.<br />[11]
‘I have learned to appreciate the riddle in all its details for I have
found portable Celtic reliquaries made in the form of a house…and
correspond exactly to Aldhelm’s description.’ Von Erhadt-Siebold, Erika.
"Aldhelm’s Chrismal." Speculum 3 (1935): 278.<br />[12] Translation
by Lapidge and Rosier, ‘I am venerated as a holy house, filled with a
divine gift. But no-one unlocks my portals nor throws open my doors
unless the roof is removed from my four chambers. And although there are
gleaming jewels on the outside of my body and a golden boss glistens
with its burnished metalwork, yet my teeming inwards are more richly
endowed within, where the beauteous splendour of Christ shimmers: thus
does the brilliant glory of these holy things bloom! in this church the
(vaults of the) roof do not spring from beams or columns.’ Aldhelmus.
Aldhelm: The Poetic Works. Trans. Michael Lapidge. Woodbridge: Brewer,
2009: 81; Ehwald, Rudolf, ed. Aldhelmi Opera. Berolini: Apvd Weidmannos,
1919: 122.<br />[13] Von Erhadt-Siebold, Erika. "Aldhelm’s Chrismal." Speculum 3 (1935): 278.<br />[14]
Von Erhadt-Siebold cites the Vita S. Comgalli, Vita S. Aridii, Acta de
S. Columba de Tyre da Glass, Vita Altera S. Aredii, and Vita S. Germani
as examples for the myriad of functions displayed by chrismals and
chrismariums. Von Erhadt-Siebold, Erika. "Aldhelm’s Chrismal." Speculum 3
(1935): 277; 94. Snoek, G. J. C. Medieval Piety from Relics to the
Eucharist: A Process of Mutual Interaction. Leiden: E.J. Brill, 1995:
93-4; Cabrol, Fernand, and Henri Leclercq. Dictionnaire D'archéologie
Chrétienne Et De Liturgie,. Vol. III. Paris: Letouzey Et Ané, 1913:
1478-81.<br />[15] ‘The priests shall always carry chrism oil and the
Eucharist, so that they may be found ready’ Heraldus of Tours. Capitula
Heradi, Archiepiscopi Turonensis. Ed. J. P. Minge. Vol. 121. Paris:
Turnhout, 1852. Patrologia Latina. Web. 10 July 2013.
<http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pld&rft_dat=xri:pld:ft:all:Z300164216>.<br />[16]
O'Donoghue, Neil. "Insular and House-Shaped Shrines in the Early Middle
Ages." Insular & Anglo-Saxon Art and Thought in the Early Medieval
Period. Ed. Colum Hourihane. Princeton: Index of Christian Art, Dept. of
Art & Archaeology, Princeton University, 2011: 84-91.<br />[17]
O'Donoghue, Neil. "Insular and House-Shaped Shrines in the Early Middle
Ages." Insular & Anglo-Saxon Art and Thought in the Early Medieval
Period. Ed. Colum Hourihane. Princeton: Index of Christian Art, Dept. of
Art & Archaeology, Princeton University, 2011: 84-5.<br />[18]
O'Donoghue, Neil. "Insular and House-Shaped Shrines in the Early Middle
Ages." Insular & Anglo-Saxon Art and Thought in the Early Medieval
Period. Ed. Colum Hourihane. Princeton: Index of Christian Art, Dept. of
Art & Archaeology, Princeton University, 2011: 84-5.<br />[19]</span><span style="font-size: small;"> Bede. <i>Bede's Ecclesiastical History of the English People</i>. Trans. Bertram Colgrave and R. A. B. Mynors. Oxford: Clarendon, 1969: 58.<br />[20] Bede. <i>Bede's Ecclesiastical History of the English People</i>. Trans. Bertram Colgrave and R. A. B. Mynors. Oxford: Clarendon, 1969: 248.</span></span></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-73121059874102525232013-11-04T14:46:00.000+00:002013-11-04T14:50:51.805+00:00Some thoughts on the Shrine of San Vicente in Ávila<div align="JUSTIFY" style="margin-bottom: 0cm;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCH_JjZQWPwMngPAuRToXk-rwXRU6UZb3a-LGbV0rpGhY7dT2l9lVq24oq0of5JZauTuf6rs3fo6o-mCiZjLQP2CvU5XtQIJKXMeOGXo1IwUpK5SpwA3QjwtjfRtQEt3HyMpDpReyrvUpb/s1600/800px-Sepulcro_de_los_M%C3%A1rtires.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCH_JjZQWPwMngPAuRToXk-rwXRU6UZb3a-LGbV0rpGhY7dT2l9lVq24oq0of5JZauTuf6rs3fo6o-mCiZjLQP2CvU5XtQIJKXMeOGXo1IwUpK5SpwA3QjwtjfRtQEt3HyMpDpReyrvUpb/s200/800px-Sepulcro_de_los_M%C3%A1rtires.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">The Shrine of SS Vicente, Sabina and Cristeta</span></td></tr>
</tbody></table>
<a href="http://www.blogger.com/null" name="Bas.C3.ADlica_de_San_Vicente"></a>
<span style="background: transparent;">In the city of </span><span style="background: transparent;"><span class="st">Ávila</span>, also
called City of Stones and Saints, in the South of Castile within the
Basílica de San Vicente, a remarkable Romanesque shrine has survived
that unfortunately has not received the attention of scholars it
deserves. In today's post I will introduce the shrine and
its saints and give an overlook of its imagery and meaning.</span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<br /></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="background: transparent;">The
shrine was probably built between 1180 and 1185 (with several later
Gothic additions) for the Basilica San Vicente in </span><span style="background: transparent;"><span class="st">Ávila</span>.<sup>1</sup>
It houses the remains of Saint Vicente, also the patron saint of the
church, and his sisters Sabina and Cristeta. According to legend,
Vicente refused to partake in pagan rituals and was thus imprisoned
in Talavera, his home town. While imprisoned, he is visited by his
sisters who aided in his escape to Avila. The siblings were caught
shortly after their escape and tortured by their captors until they
were finally executed. This rendition of the legend was first
recorded by Prudentius in his <i>Peristephanon </i>in the fourth
century. By the time the shrine was built, however, the legend had
been expanded to include an additional episode. After the saint's martyrdom, their bodies were guarded by a snake sent by God until
they were discovered by a Jew. The snake attacked him and only released him once he called unto Christ. The Jew thus
converted and built a basilica for the saints, so they could receive
a proper burial there. As we shall see later, this additional episode
became a significant feature in the visual programme of the shrine.</span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QQRGJLNFjUHICUwrjU0NW4s5XF5mLVzE3RywqW4nKI-pZASPjx6dcNxHyAMndJPsUdT9TRJjduzhgVxiFE-dusGPqNM5-Ux-OF8N5RI9Qe3R3AJpPtAFsQucJgXzuZqR47-nkAMtWsOE/s1600/800px-Avila_-_Basilica_de_San_Vicente%252C_interiores_20_%2528Sepulcro_de_los_Santos%2529.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QQRGJLNFjUHICUwrjU0NW4s5XF5mLVzE3RywqW4nKI-pZASPjx6dcNxHyAMndJPsUdT9TRJjduzhgVxiFE-dusGPqNM5-Ux-OF8N5RI9Qe3R3AJpPtAFsQucJgXzuZqR47-nkAMtWsOE/s200/800px-Avila_-_Basilica_de_San_Vicente%252C_interiores_20_%2528Sepulcro_de_los_Santos%2529.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">North side of the shrine</span></td></tr>
</tbody></table>
</div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<a href="http://www.blogger.com/null" name="_GoBack"></a><span style="background: transparent;">The
shrine follows the design of a two-aisled basilica. The shrine's
north and south side depict the legend of Saint Vicente, Sabina and
Cristeta. On the east and west side, we can see a depiction of the
Epiphany and the Theophany. The arcades on which the whole structure
rests, is decorated with representations of the apostles as well as
religious and secular figures. On the north side of the shrine the
visual narration begins with Vicente's refusal to worship the pagan
gods, followed to the right by his sisters’ visit and their escape.
On the south side the story continues with their capture in </span><span style="background: transparent;"><span class="st">Ávila</span>,
their torture on X-shaped crosses and their martyrdom by having their
heads smashed by massive stone blocks. The next two scenes focus
entirely on the Jew who found them; first by showing him,
identifiable by his cap, beard and physiognomy, being attacked by the
snake, then by building the shrine for the saints. In the second
scene the change in his attire is of great significance as his shirt
indicates that the scene occurs after he received his baptism.</span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuiHNknXd6iNcStmUqJloNN1V1FbarhdcjwB80m1lb-O_8g3muOdg3plhEjt1HniIShMms0jq1pGO7O4vzt5bEWO8IHY7AecY5sbpxmQbEoYCRF8yTIlh3cAvQ9p3XVe1mP9iMIUd-J1To/s1600/800px-Avila_-_Basilica_de_San_Vicente,_interiores_38_(Sepulcro_de_los_Santos).jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br /></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-h5jPy9btiG4_U-DHYGYHWUUq7LE016FXYF6ojRuuFTaqn8QQipt_Xar6564c0V2q_0PxuOQj6-lrlxyVeBk4hkzhkkqe99WnXMoWyER-ihVlwcUCOH1XY1MmQZGuNnsvcFfdlHm008Go/s1600/800px-Avila_-_Basilica_de_San_Vicente,_interiores_39_(Sepulcro_de_los_Santos).jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-h5jPy9btiG4_U-DHYGYHWUUq7LE016FXYF6ojRuuFTaqn8QQipt_Xar6564c0V2q_0PxuOQj6-lrlxyVeBk4hkzhkkqe99WnXMoWyER-ihVlwcUCOH1XY1MmQZGuNnsvcFfdlHm008Go/s200/800px-Avila_-_Basilica_de_San_Vicente,_interiores_39_(Sepulcro_de_los_Santos).jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">The Jew builds the shrine for the saints</span></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuiHNknXd6iNcStmUqJloNN1V1FbarhdcjwB80m1lb-O_8g3muOdg3plhEjt1HniIShMms0jq1pGO7O4vzt5bEWO8IHY7AecY5sbpxmQbEoYCRF8yTIlh3cAvQ9p3XVe1mP9iMIUd-J1To/s1600/800px-Avila_-_Basilica_de_San_Vicente,_interiores_38_%28Sepulcro_de_los_Santos%29.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuiHNknXd6iNcStmUqJloNN1V1FbarhdcjwB80m1lb-O_8g3muOdg3plhEjt1HniIShMms0jq1pGO7O4vzt5bEWO8IHY7AecY5sbpxmQbEoYCRF8yTIlh3cAvQ9p3XVe1mP9iMIUd-J1To/s200/800px-Avila_-_Basilica_de_San_Vicente,_interiores_38_%28Sepulcro_de_los_Santos%29.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">The Jew is attacked by the snake</span></td></tr>
</tbody></table>
<span style="background: transparent;">It
appears the shrine shows a</span><span style="background: transparent;">n
</span><span style="background: transparent;">ambiguous image of Jews
within </span><span style="background: transparent;">the</span><span style="font-size: xx-small;"> </span><span style="background: transparent;">legend</span><span style="background: transparent;">.
On the one hand we see </span><span style="background: transparent;">the</span><span style="background: transparent;">
Jewish figure, </span><span style="background: transparent;">corresponding
to</span><span style="background: transparent;"> the legend, finding
the bodies, converting and making sure that the saints receive the
burial they deserve by building a shrine for them above which </span><span style="background: transparent;">the</span><span style="background: transparent;">
basilica </span><span style="background: transparent;">was built</span><span style="background: transparent;">.
The fact that this part of the legend constitutes </span><span style="background: transparent;">large</span><span style="background: transparent;">
part of the imagery, as well as the resemblance of the depicted
basilica to the </span><span style="background: transparent;">Basilica
de San Vicente</span><span style="background: transparent;"> creates
an image of the church within the church.<sup>2</sup>
Additionally, the convert becomes an integral part not only of the
story but of the history and identity of the Basilica and the city of </span><span style="background: transparent;"><span class="st">Ávila</span>. </span></div>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="background: transparent;"> </span>
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilGZA_X07AgFkIpuQSZBqpJvyXls2AWMFfQhyphenhyphenzP1UiH_wXWvJzMeCJ550RWiY5P8g_-Bk9bXL5BqUsD_LRKESeGuitH7GCv43VFaL8Eu2dStCQwG5DYX_-nzOv0E5vJ8FP_Ymbm3pOIXa2/s1600/800px-Avila_-_Basilica_de_San_Vicente,_interiores_37_(Sepulcro_de_los_Santos).jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilGZA_X07AgFkIpuQSZBqpJvyXls2AWMFfQhyphenhyphenzP1UiH_wXWvJzMeCJ550RWiY5P8g_-Bk9bXL5BqUsD_LRKESeGuitH7GCv43VFaL8Eu2dStCQwG5DYX_-nzOv0E5vJ8FP_Ymbm3pOIXa2/s320/800px-Avila_-_Basilica_de_San_Vicente,_interiores_37_(Sepulcro_de_los_Santos).jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">The martyrdom of the saints</span></td></tr>
</tbody></table>
<div align="JUSTIFY" style="margin-bottom: 0cm;">
<span style="background: transparent;">However,
there is a significant addition in the visualisation of the legend.
In the scene of the martyrdom a figure has been added that is
identifiable as Jew by its physiognomy. Simultaneously an additional Jewish figure seems to partake in the execution of the martyrs.
It has been suggested that the Jew in this programme is turned 'from
the happenstance observer of the Visigothic tale to a persecutor who
nurtures as an active hostility to the young saints.'<sup>3</sup>
However, based on the different clothing it appears to me that these
figures may in fact be two separate individuals. This would imply
that the imagery of the shrine is not polemicising again Jews in the
same generalising way as can be observed in other visual material.
Though of course a polemic still remains, and the positive aspect of
the Jew who finds the bodies is only possible due to his conversion.
Nevertheless, the imagery seems to indicate an approach to the <i>Other</i>,
that is not purely generalising, but explores notions of individual
actions. However, such reading needs to be looked at in more detail,
especially with regards to the specific socio-historical context in </span><span style="background: transparent;"><span class="st">Ávila</span>, which will be part of my further PhD studies.</span></div>
<div style="margin-bottom: 0cm;">
<br />
-Fabian<br />
<br /></div>
<div id="sdfootnote1">
<div class="sdfootnote">
<span style="font-size: x-small;">1 See
Goldschmidt, Werner. “El Sepulcro de San Vicente, En Avila.”
<i>Archivo Español de Arqueología</i> 12 (1936): 161–170 for a
full account of the dating.</span></div>
</div>
<div id="sdfootnote2">
<div class="sdfootnote" style="page-break-before: always;">
<span style="font-size: x-small;">2 See
Camps, Daniel Rico. “A Shrine in Its Setting: San Vicente de
Ávila.” In <i>Decorations for the Holy Dead: Visual
Embellishments on Tombs and Shrines of Saints</i>, edited by Stephan
Lamia and Elizabeth Valdez del Alamo, 57–76. Turnhout: Brepols,
2002 for a detailed analysis of the different layers in the
relationships between shrine, imagery and church.</span></div>
</div>
<div id="sdfootnote3">
<div class="sdfootnote">
<span style="font-size: x-small;">3 Patton,
Pamela Anne. <i>Art of Estrangement: Redefining Jews in Reconquest
Spain</i>. University Park, Pennsylvania: Pennsylvania State
University Press, 2012, 27-31.</span></div>
<div class="sdfootnote">
<br />
<span style="font-size: x-small;">Images: http://commons.wikimedia.org/wiki/Category:Sepulcro_de_los_Santos_M%C3%A1rtires,_Basilica_of_San_Vicente,_%C3%81vila</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-56544004912021329902013-10-21T00:59:00.001+01:002013-10-21T00:59:44.290+01:00Enisala – romantic setting, disputed history<div style="text-align: justify;">
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<div class="MsoNormalCxSpFirst" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;">‘Advertised’ as the
only medieval fortress in Dobruja, the southeastern region in Romania,
bordering the Black Sea, Enisala is an extremely rewarding experience, as
adjectives like ‘romantic’, ‘glorious’, and ‘legendary’ flood one’s mind at the
first visit. If heading north from Jurilovca, one is guided by a corridor of
trees and welcomed by the image of the fortress, at a distance, standing tall
and proud on a hill whose structure and appearance make the traveller recall
Scottish landforms, with a twist of French </span><i style="font-family: inherit;">Provence</i><span style="font-family: inherit; font-size: small;">,
in an extremely approachable Romanian landscape.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;">Seen from afar as
an irregular polygonal construction, Enisala had two chambers and walls built
of rock (Jurassic lime). With natural defences to the western, southwestern,
and northern part, the access to the fortress is via the southeastern wall. The
first chamber has four towers and three abutments and was discovered during the
archaeological diggings undertaken between 1963 and 1964, while the second
chamber was discovered following an aerial picture taken around 1969. It was
located to the north of the first chamber and was larger in area.</span><br />
<span style="font-family: inherit;"><span style="font-size: 12pt;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJOyfbwIAF95ydYTAuvG8F69ub7fq-YKPRIdM2xjefedqMqxtaf3K46Y4PxsjSYFZ17LnNE4RheCxMGF948WV2k9JWEHzFKBzw5n8XbV3O_q-zK-5wsJqCb4rtkOOe6VDTwaCBoVxd0trX/s1600/_MBA4357.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJOyfbwIAF95ydYTAuvG8F69ub7fq-YKPRIdM2xjefedqMqxtaf3K46Y4PxsjSYFZ17LnNE4RheCxMGF948WV2k9JWEHzFKBzw5n8XbV3O_q-zK-5wsJqCb4rtkOOe6VDTwaCBoVxd0trX/s400/_MBA4357.jpg" height="265" width="400" /></a></div>
<br />
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">The <span style="text-align: justify;">name of the
fortress was formed by adjoining the Turkish word ‘yeni’ [new] and the Dobrujan
regionalism ‘sale’ [settlement]. The explanation may reside in the fact that
the Turks may have adapted the name of the administrative unit near the
fortress, called </span><i style="text-align: justify;">Vicus Novus </i><span style="text-align: justify;">[the new
village], and later on </span><i style="text-align: justify;">Novoe Selo</i><span style="text-align: justify;">. Although
there are sources referring to Enisala Fortress under the Latin names of </span><i style="text-align: justify;">Heraclia </i><span style="text-align: justify;">or </span><i style="text-align: justify;">Heracleea</i><span style="text-align: justify;">, how can the Turkish influences be explained?</span></span></div>
<br />
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;">Built by the
Genovese powers at the end of the thirteenth century/beginning of the
fourteenth century on the ruins of a Byzantine structure and later on included
in the defence system of Wallachia [the southern Romanian region stretching
during the rule of Mircea the Elder (1386-1418) between the Southern
Carpathians (to the north), the Danube (to the west and south), and the Black
Sea (to the east)], Enisala had a strategic and military role. Its main mission
was to control and to defend the land and especially the water traffic when
Lake Razim – which it overlooks – was still a gulf of the Black Sea. During
that period, the Genovese were practically the only ones in the region to
afford investing in a construction of such grandeur and Enisala Fortress was an
establishment to join the other Genovese settlements in the region – the towns
of Chilia and Likostomion in Danube Delta, Cetatea Albă at the mouth of Nistru
River, as well as Caffa and Balaclava in southern Crimea. First conquered by
the Turks in 1388, it was reconquered by Mircea the Elder in 1393 and lost
again to the Turks in 1417. When the latter managed to conquer Chilia and
Cetatea Albă in the second half of the fifteenth century and following the
formation of the sand streams separating Lake Razim and the Black Sea, Enisala
was abandoned because it was no longer according to the strategic and economic
interests of the Ottoman Empire. </span><br />
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSVrf06hRaeldRBnY52ElmYOoChQ9UpcjZe7O47MGynuQ7n9cBqorCDIT5q-_3-nhkRh9bZ_BZDMIjj7Iu56gN7FU5p35407MbwdPiJsNKFpPbxYVuGmbIhHjqr-q182Zm4MBCJC2mRz-3/s1600/_MBA4377-2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSVrf06hRaeldRBnY52ElmYOoChQ9UpcjZe7O47MGynuQ7n9cBqorCDIT5q-_3-nhkRh9bZ_BZDMIjj7Iu56gN7FU5p35407MbwdPiJsNKFpPbxYVuGmbIhHjqr-q182Zm4MBCJC2mRz-3/s320/_MBA4377-2.jpg" height="179" style="cursor: move;" width="320" /></a><span style="font-family: inherit;"><span style="font-size: 12pt;"> </span></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;">Enisala’s downfall
would actually be its salvation. In spite of the order given by the Russian
generals, aiming at the destruction of all the medieval fortresses in northern
Dobruja 200 years ago during a period of heightened Russian influence in the
region, Enisala was the only one to escape by being inactive at that time. As a
result, it boasts the label listed at the beginning of this article and can
still delight the eye of the travellers and historians alike. </span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit; mso-bidi-font-style: normal;"> -Contributed by Olivia-Petra Coman.</span></div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
_____________________</div>
<div class="MsoNormalCxSpMiddle" style="line-height: normal; margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: inherit; font-size: x-small;"><span style="mso-bidi-font-style: normal;">Bibliography:</span></span></div>
<span style="font-family: inherit; font-size: x-small;"><a href="http://360.inp.org.ro/index.php/obiective/cetatea-enisala-jud-tulcea-tur-virtual-video">http://360.inp.org.ro/index.php/obiective/cetatea-enisala-jud-tulcea-tur-virtual-video</a>
(accessed 22/09/13) </span><br />
<span style="font-family: inherit; font-size: x-small;"><a href="http://www.cetateaenisala.ro/">http://www.cetateaenisala.ro</a> (accessed
22/09/13) ‘Archaeological
News, European Lands’, <i style="mso-bidi-font-style: normal;">American Journal
of Archaeology</i>, Vol. 54, No. 4 (1950) Bilde Pia, Guldager;
Bøgh, Birgitte; Handberg, Søren; Munk Højte, Jakob; Nieling, Jens; Smekalova, Tatiana;
Stolba, Vladimir; Baralis, Alexandre; Bîrzescu, Iulian; Gergova, Diana; Krapivina,
Valentina; Krusteff, Krassimir; Lungu, Vasilica, and Maslennikov, Alexander, ‘Archaeology
in the Black Sea Region in Classical Antiquity 1993-2007’, <i style="mso-bidi-font-style: normal;">Archaeological Reports</i>, No. 54 (2007–2008), pp. 115-173 </span><br />
<span style="font-family: inherit; font-size: x-small;">Iosipescu, Raluca
and Iosipescu, Sergiu, ‘Cronica cercetărilor arheologice din România’, Campania
2011, București</span>
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<span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="font-size: x-small;">Pictures:</span></i></span></div>
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<span style="font-family: inherit;"><span style="font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 1;"> </span></i>© Marcel Băncilă</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt;"><span style="mso-spacerun: yes;"></span></span></i><span style="font-size: 12pt;"><span style="mso-spacerun: yes;"></span><span style="mso-spacerun: yes;"><br /></span></span></span></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-41175912971974788332013-10-17T23:05:00.000+01:002013-10-20T03:36:35.778+01:00Beyond Borders Welcomes Olivia Petra<div style="text-align: justify;">
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<span style="font-family: inherit;">Beyond Borders would like to welcome Olivia-Petra Coman!</span></div>
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<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span lang="EN-US" style="color: #111111;">We look forward to hosting Olivia's post on </span></span></span>Enisala, a medieval fortress is Dobruja, Romania on Monday 21st of October. Don't forget to follow Olivia on twitter and check out her amazing blog, Petra's Chessboard.</span></div>
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<span style="font-family: inherit;"><span style="font-size: 12pt;">_______________________________________________________________</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvk8OBV301bSVxMxPo-fN1a-ADNbyQWHl1ZZbfNafxGEBFv3qmfAGenNp7lTEEne4b5DfWYRqOhSY7QiKF2tqUxT9As3rm3ybhW0bBnWlfTKCT9T_DAtTFtF0nwLHA15kpxPtWSF7h772N/s1600/Olivia-Petra+Coman.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvk8OBV301bSVxMxPo-fN1a-ADNbyQWHl1ZZbfNafxGEBFv3qmfAGenNp7lTEEne4b5DfWYRqOhSY7QiKF2tqUxT9As3rm3ybhW0bBnWlfTKCT9T_DAtTFtF0nwLHA15kpxPtWSF7h772N/s320/Olivia-Petra+Coman.JPG" width="186" /></a></div>
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<span style="font-family: inherit;">History
postgraduate student and experienced traveller, always thirsty for adventure. </span></div>
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<span style="font-family: inherit;">I travel the world
to discover its hidden treasures, I dream to get to the historical sites I’ve
only explored in books, and I hope to make a difference through my work and
vision of the world around me. <span style="font-size: 12pt;"> </span></span></div>
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-2362301442682060322013-10-15T01:01:00.002+01:002013-12-17T02:42:32.709+00:00The Synagogue El Tránsito<!--[if gte mso 9]><xml>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjorxrC757Il6nIps99Tja7F0LsFkS3VhyphenhyphenS5S8q3zpIB0p_oCnkcpRoG_UE-0zFi54_DgD3isubFy69Vlij7aAVvzH9R6HIUoLXpalR4CagKHLsNoanBvz0lvPooIj3tEMIuaIGVqYMNgE/s1600/800px-Toledo_-_Sinagoga_El_Transito_01.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjorxrC757Il6nIps99Tja7F0LsFkS3VhyphenhyphenS5S8q3zpIB0p_oCnkcpRoG_UE-0zFi54_DgD3isubFy69Vlij7aAVvzH9R6HIUoLXpalR4CagKHLsNoanBvz0lvPooIj3tEMIuaIGVqYMNgE/s400/800px-Toledo_-_Sinagoga_El_Transito_01.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 1 El Tránsito Exterior</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">In relation to my recent academic inquiries about the status of Jews
in medieval Spain, I would like to </span><span style="font-family: inherit;">devote this post to the Synagogue of Samuel
Ha-Levi, or what is better known as El Tránsito.</span><br />
<span style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;">El </span><span lang="EN-GB" style="font-family: inherit;">Tránsito</span><span lang="EN-GB" style="font-family: inherit;"> was built within the Christian kingdom of Toledo and was founded and financed by </span><span style="font-family: inherit;">Samuel Halevi
Abulafia who was treasurer of the Castilian king Peter I, and a prominent
member of Toledo’s Jewish community.</span><span class="MsoFootnoteReference" style="font-family: inherit;"><span class="MsoFootnoteReference">[1]</span></span><span style="font-family: inherit;"> El </span><span lang="EN-GB" style="font-family: inherit;">Tránsito</span><span lang="EN-GB" style="font-family: inherit;"> </span><span style="font-family: inherit;">was built in the fourteenth century for personal use
by Ha-Levi and was attached to his home via private gates.</span><span class="MsoFootnoteReference" style="font-family: inherit;"><span class="MsoFootnoteReference">[2]</span></span></div>
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<div style="text-align: right;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDY04Jrg6H4yeZRISYDmtVDjnt3ZABJQtBtQH0n5yK3VWwT_wY6AxyAHTVxfiyCvoEwMo3C25dd9VTGdZNEOFq5y4LpelrWd_g-eJ4-nJeBDZE6GRevVx8jfwFYsxlRE1d20Uzoz7uuNGe/s1600/sinagoga_transito_toledo_t4500130.jpg_1306973099.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDY04Jrg6H4yeZRISYDmtVDjnt3ZABJQtBtQH0n5yK3VWwT_wY6AxyAHTVxfiyCvoEwMo3C25dd9VTGdZNEOFq5y4LpelrWd_g-eJ4-nJeBDZE6GRevVx8jfwFYsxlRE1d20Uzoz7uuNGe/s320/sinagoga_transito_toledo_t4500130.jpg_1306973099.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 2 El Tránsito Exterior</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">Based upon an exterior view, the
synagogue has an appearance of a simple edifice with horseshoe </span><span style="font-family: inherit;">shaped windows,
which were a common aspect in medieval Spanish architecture.</span></div>
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<br /></div>
<div style="text-align: left;">
</div>
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<span style="font-family: inherit;">However, the interior of the
synagogue has decorative aspects that may be likened to the interior of Alhambra
(constructed intermittently between the 9</span><sup style="font-family: inherit;">th</sup><span style="font-family: inherit;">-14</span><sup style="font-family: inherit;">th</sup><span style="font-family: inherit;">
centuries in the Muslim kingdom of Granada) in regard to the Nasrid style finely
carved stucco with arabesque motifs as well as the horseshoe shaped archways.</span><span class="MsoFootnoteReference" style="font-family: inherit;"><span class="MsoFootnoteReference"><span lang="EN-GB">[3]</span></span></span><span style="font-family: inherit;"> </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">These
decorative aspects are reflective of the predominant styles within the medieval
Iberian Peninsula and could be could be found in Christian, Jewish and Islamic architectural
structures.</span></div>
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</div>
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<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVFoID_JaARsimy8othwJJe_q3y-crwFozkW08qXhw1Ua1DJ4Z81zC5bMzAj6medOrUpd1jctXjONHHUnGB3BULDrF2d59bh0lQ4Nl-bgJIv1M9teRBNyLnZpVJdelKzwZUOm4cT9eQ0lV/s1600/Sinagoga_del_Transito.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVFoID_JaARsimy8othwJJe_q3y-crwFozkW08qXhw1Ua1DJ4Z81zC5bMzAj6medOrUpd1jctXjONHHUnGB3BULDrF2d59bh0lQ4Nl-bgJIv1M9teRBNyLnZpVJdelKzwZUOm4cT9eQ0lV/s320/Sinagoga_del_Transito.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 3 El Tránsito Interior</span></td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOELvpQZx1-vTPHd1pcRo5MB4CSvf7Pq0HZ1R6sKrykJGJJoTh9uso0cVTfaDCXHB5hbK3TO0oNMpeDsxsNRhiUjOmem96HvSZj1RQpIs4-w46X8hd_6JPEcjSPrq35px4fZ8VmPM2e65u/s1600/Canopy-at-the-Alhambra.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOELvpQZx1-vTPHd1pcRo5MB4CSvf7Pq0HZ1R6sKrykJGJJoTh9uso0cVTfaDCXHB5hbK3TO0oNMpeDsxsNRhiUjOmem96HvSZj1RQpIs4-w46X8hd_6JPEcjSPrq35px4fZ8VmPM2e65u/s200/Canopy-at-the-Alhambra.jpg" width="173" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 4 Alhambra</span></td></tr>
</tbody></table>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;"><br /></span>
<span lang="EN-GB" style="font-family: inherit;">But the aspect of El </span><span lang="EN-GB" style="font-family: inherit;">Tránsito</span><span lang="EN-GB" style="font-family: inherit;">
that I find particularly interesting is the incorporation of both Hebrew and
Arabic inscriptions within one edifice. To me, this relates to how the social
structure of Toledo and other areas within the Christian kingdoms of Spain
were, in certain instances, indefinable. I shall use the socio-political role
of the Jew as an example. </span><span lang="EN-GB" style="font-family: inherit;">On one hand the Jews were
‘servants’ of the crown used to proliferate its wealth, whilst on the other
hand, they were vilified for the very acts they were entrusted to complete. I
would suggest this may be due to the nature of some of these acts in the eyes
of Christianity (such as usury), which, in turn, reflected upon, and propagated,
the perceived ‘nature’ of the Jews.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGP_3RQ0GhcXa-p67xnq6XIF00OO79bmkgyTbnpc2_fpnFQZb7lc6F5B-4L4fMLWUBgivpnjNygKQZ0ltZ34pVua2U8ZQnfP0BLM17NeiL-UvDjhvfTRXwN347hwLK-LHchNUxYoQOZ_G/s1600/IHS0496.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGP_3RQ0GhcXa-p67xnq6XIF00OO79bmkgyTbnpc2_fpnFQZb7lc6F5B-4L4fMLWUBgivpnjNygKQZ0ltZ34pVua2U8ZQnfP0BLM17NeiL-UvDjhvfTRXwN347hwLK-LHchNUxYoQOZ_G/s320/IHS0496.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 5 El Tránsito Islamic and Hebrew Inscriptions</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><br /></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 6 Alhambra</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span lang="EN-GB">Due to their linguistic proficiencies, the Jews acted as
intermediaries between Christian and Muslim kingdoms and as tax collectors
the Jews were an important aspect to the continued financial growth of the
crown.[4] According to Law XXV of the <i>Siete
Partidas, </i>the <i>almojarife </i>(a role
usually fulfilled by a Jew) should be ‘loyal and without covetousness.’ [5] Also, in some areas of Spain the Jews were so important to the economical and
‘commercial well-being’ of the town that they were permitted to attend general
assemblies of the <i>Cort</i>. [6] However, Christian accounts of Jews (both
illustratively and in writing) describe the Jew as a greedy, ‘renegade
rogue’ that lies and covets money and wealth. [7] Additionally, in
Cantiga 348, the Virgin described the Jews as “'</span><span lang="EN-GB">people much worse than the
Moors'” who hoarded and buried their wealth.[8]</span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxH_FuIw2kKdmOj-eJy1YNLMC69SdyskIDPa68sbBSL4ylqOheH9HC_glVaBsy8rygDqAHa6CGNWgCsed8QPb8QNFq4qE5pYjwa8GBT9xt4xzQVQ1FfzV4DSF2a1_SNC9urHBk7W7XNkme/s1600/Nirenberg_Privado_Jordan+volume.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxH_FuIw2kKdmOj-eJy1YNLMC69SdyskIDPa68sbBSL4ylqOheH9HC_glVaBsy8rygDqAHa6CGNWgCsed8QPb8QNFq4qE5pYjwa8GBT9xt4xzQVQ1FfzV4DSF2a1_SNC9urHBk7W7XNkme/s400/Nirenberg_Privado_Jordan+volume.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit; font-size: x-small;">Figure 7 <span style="text-align: justify;">Teófilo in Satan’s court.</span><span style="text-align: justify;"> </span></span><br />
<div style="text-align: justify;">
<span style="color: white; font-family: inherit; font-size: x-small;"> Source: Escorial Ms. T. I, fol. 3r, detail. </span></div>
</td></tr>
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<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The Jews were also known to be knowledgeable about sciences and
medicine, which proved to be useful in the medical treatment of Alfonso X. [9] However, within literature and other religious accounts, the Jews
were not to be trusted. The Jew’s proficiencies, which many people sought and
relied upon, were conveyed as a form of trickery because as a people the Jews were
devilish magicians who formed a brotherhood with the devil.[10] Furthermore,
within illuminated manuscripts, this brotherhood was amalgamated by the
illustrative representations of the physical similarities between the devil and
the Jew. [11]</span><br />
<span style="font-family: inherit;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_9wKg0Zq0-unQHzSfurH0g4WsRRTIdQ4PEyu67O6wb9tIpfAh3qcJm1h7ZGJSdSgAqah56LfCBcnrRubp9sGiKvwLjk_voF7g6CDpghH83LeEJqHTYTo7dQBTXqiCsOLGgF9Hh4nAxZu/s1600/index.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3_9wKg0Zq0-unQHzSfurH0g4WsRRTIdQ4PEyu67O6wb9tIpfAh3qcJm1h7ZGJSdSgAqah56LfCBcnrRubp9sGiKvwLjk_voF7g6CDpghH83LeEJqHTYTo7dQBTXqiCsOLGgF9Hh4nAxZu/s320/index.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 8 El Tránsito Hebrew Inscriptions</span></td></tr>
</tbody></table>
<br />
Even though there are numerous
accounts (both written and Illustrative) delineating the socio-political and
religious standing of the three Abrahamic religions living within medieval
Iberia, one cannot ignore the visual intermingling of ideas and traditions that
occurred within the area. To some, these intertwined visual aspects speak to
the idea that the Christians, Jews and Muslims lived together in medieval
Iberia happily and openly shared ideas, but, to me, it speaks of the delicate nature
of the socio-political currents of the time period. The existence of
architectural structures that exchanged hands (from Muslim to Christian or
Jewish to Christian) but were still able to retain much of its cultural
identifiers relates to what I would consider to be a power struggle even though
the area was dominated by one religious culture.<br />
<br />
~Shandra</div>
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<span style="font-family: inherit;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[</span><span lang="EN-GB">1]</span></span><!--[endif]--></span></span><span style="font-size: x-small;">Sinagoga del Tránsito<b> </b><span lang="EN-GB">http://archnet.org/library/sites/one-site.jsp?site_id=7587</span><o:p></o:p></span></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[2]</span></span><!--[endif]--></span></span><span lang="EN-GB"> </span>Ibid.<o:p></o:p></span></div>
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<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[3]</span></span><!--[endif]--></span></span><span lang="EN-GB"> The Art of the Nasrid Period
http://www.metmuseum.org/toah/hd/nasr/hd_nasr.htm</span><o:p></o:p></span><br />
<span lang="EN-GB" style="font-family: inherit; font-size: x-small;">[4]Jonathan Ray, <i>The Sephardic Frontier: The Reconquista and the Jewish Community in Medieval Iberia</i>, Cornell UP 2006, 68.</span><br />
<span lang="EN-GB" style="font-family: inherit; font-size: x-small;">[5] Robert I. Burns, S.J. ed, <i>Las Siete Partidas</i>, Vol 2: <i>The Medieval Government: The World of Kings and Warriors</i>, translated by Samuel Parsons Scott, University of Pennsylvania, 2001, 327.</span><br />
<span style="font-family: inherit; font-size: x-small;"><span lang="EN-GB">[6]</span>Jonathan Ray, <i>The Sephardic Frontier: The Reconquista and the Jewish Community in Medieval Iberia,</i> Cornell UP 2006, 90.</span><br />
<span style="font-family: inherit; font-size: x-small;">[7]Gonzalo de Berceo, <i>The Miracles of Our Lady</i>, stanzas 679-681;648.</span><br />
<span style="font-family: inherit; font-size: x-small;">[8]Walter Mettmann ed, Alfonso X, el Sabio: <i>Cantigas de Santa Maria</i>, Castalia, Madrid, 1989</span><br />
<span style="font-family: inherit; font-size: x-small;">[9]Francisco Prado Vilar, 'Iudeus Sacer: Life, Law, and Identity...,' in Kessler and Nirenberg, <i>Judaism in Christian Art</i>, Philadelphia/Oxford: Pennsylvannia UP 2011, 116.</span><br />
<span style="font-family: inherit; font-size: x-small;">[10]Gonzalo de Berceo, <i>The Miracles of Our Lady</i>, stanzas 766-769.</span><br />
<span style="font-family: inherit; font-size: x-small;">[11] Pamela Patton, 'Constructing the Inimical Jew in the <i>Cantigas de Santa Maria</i>: Theophilus' Magician in Text and Image.' <i>In Beyond the Yellow Badge: Anti-Judaism, Anti-Semitism and European Art Before 1800</i>, ed. Mitchell Merback. Leiden: Brill Academic Publishers, 2008, 244.</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-family: inherit; font-size: x-small;">Figures:</span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 1-http://www.spainisculture.com/en/monumentos/toledo/sinagoga_del_transito.html</span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 2- Ibid.</span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 3-http://www.flickr.com/photos/paulayjesus/5354939383/</span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 4-http://www.ecotravellerguide.com/wp-content/uploads/2012/06/Canopy-at-the-Alhambra.jpg</span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 5-Sinagoga del Tránsito<b> </b><span lang="EN-GB">http://archnet.org/library/sites/one-site.jsp?site_id=7587</span></span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 6-http://tourists360.com/alhambra-palace/</span><br />
<span style="font-family: inherit; font-size: x-small;">Figure 7-<span style="line-height: 115%;">David Nirenberg, “</span><span style="line-height: 115%;">Christian Love, Jewish ‘Privacy,’ and
Medieval Kingship,” in </span><i style="line-height: 115%;">Center and
Periphery: Studies on Power in the Medieval World</i><span style="line-height: 115%;"> (Leiden: E.J. Brill,
2013), 30.</span></span><br />
<span style="font-family: inherit; font-size: x-small;"><span style="line-height: 115%;">Figure 8-</span></span><span style="font-size: x-small;">Sinagoga del Tránsito</span><b style="font-size: small;"> </b><span lang="EN-GB" style="font-size: x-small;">http://archnet.org/library/sites/one-site.jsp?site_id=7587</span><br />
<span lang="EN-GB" style="font-size: x-small;"><br /></span>
<span lang="EN-GB" style="font-size: x-small;"><a href="http://www.hypersmash.com">www.HyperSmash.com</a></span><br />
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-80756709913457993222013-10-01T02:33:00.000+01:002013-10-20T21:23:13.316+01:00‘Medieval’ India from a Western Perspective<div class="MsoNormal">
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;">This week I would like to step into an area Beyond
Borders has not yet covered. BB has posted on China & the Middle East during
the Western Middle Ages, but we have yet to discuss the subcontinent of India. As I am not specialist on Indian art and architecture, I’d like to give an analysis from the
Western perspective. In this post I will examine cosmological features in
Indian architecture at the Vimala Temple and Fatehpur Sikri. The cosmological ideologies and publications of Hipparchus, Pythagoras, Plato,
and Aristotle had made their way to this region and as a result, there are cosmological symbols at Vimala and Fatehpur Sikri
that are also seen at Western sites.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[1]</span></span><!--[endif]--></span> Although
these features embody some Western qualities, they are prime examples of Indian
<i>mandalas</i>.<o:p></o:p></span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTkkhelJ-T2NTCEo1zcGDSrylXjQvihPHTkFsDV2tBsMAmkfems5MkbWzJLxDq3wsOs6S5iKCjF246EE-qD34Zg6e8fbrmlxwl_p4KcKQ6J1d8qZU8Gwj6_kvNll5_EqooT234lv35hnfw/s1600/Vimala+mandala.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTkkhelJ-T2NTCEo1zcGDSrylXjQvihPHTkFsDV2tBsMAmkfems5MkbWzJLxDq3wsOs6S5iKCjF246EE-qD34Zg6e8fbrmlxwl_p4KcKQ6J1d8qZU8Gwj6_kvNll5_EqooT234lv35hnfw/s1600/Vimala+mandala.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit;">Vimala Temple, Mandala Ceiling</span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: 12pt; line-height: 115%;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: 12pt; line-height: 115%;">As touched upon in previous posts, </span><i style="font-size: 12pt; line-height: 115%;">mandala</i><span style="font-size: 12pt; line-height: 115%;"> is an Eastern term used to
describe the intermingling of shapes as a means of representing the cosmos. The
Vimala Temple, a fourteenth century Jain sanctuary, is home to many decorative
mandala forms, the largest being that which covers the centre most part of the
ceiling.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span></span><span style="font-size: 12pt; line-height: 115%;"> The
Vimala mandala is a true monad, starting with a seed of one and branching into
petals of four, six, eight, & twelve. The centre is the seed of the monad,
which instead of representing the Christian God like in cathedral rose windows, possibly represents the twenty-fourth
tirthankara, Mahavira.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[3]</span></span></span><span style="font-size: 12pt; line-height: 115%;"> </span><span style="font-size: 12pt; line-height: 115%;"> </span><span style="font-size: 12pt; line-height: 115%;">The next layer consists of four petals. The
four-lobed form encompasses the one "seed" much like the pattern known as the </span><i style="font-size: 12pt; line-height: 115%;">Breath of the Compassionate</i><span style="font-size: 12pt; line-height: 115%;">, a symbol
for universal balance.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[4]</span></span></span><span style="font-size: 12pt; line-height: 115%;">
Knowing that India was in possession of Greek philosophies, elemental theory
can also be applied to this pattern; the four lobes/petals represent each of
the elements, while the centre represents the impermeable </span><i style="font-size: 12pt; line-height: 115%;">aether</i><span style="font-size: 12pt; line-height: 115%;">.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[5]</span></span></span><span style="font-size: 12pt; line-height: 115%;">
The number four can also be a reference to the four cardinal directions. The
four-lobed form is then surrounded by six, a number affiliated with the
six-faced cube, the Platonic Solid symbolizing Earth.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[6]</span></span></span><span style="font-size: 12pt; line-height: 115%;">
The layer of six is followed by a layer of eight. I often
interpret the number eight as a symbol for infinity as the figure 8 turned upon
its side is the symbol for infinity. Being that the Vimala ceiling is a
mandala, a symbol of the universe, the eight-lobed layer may represent the
infinite life of the cosmos. The number twelve is represented differently than
the others discussed. Four, six, and eight are all flower-like in form, while
the number twelve is represented as twelve individual linga-like forms atop a
four-lobed shape. My first assumption would be to
consider twelve as a reference to the months of the year, but with this change
of format, there is potential for cultural symbolism.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNntUqzwvdl29LkwzOsilAAZAqSmvTPy4gIIALu-sMdQH_KfcDYS_Ypua0fjTibT3Ja82arsDWjBO_7_G4kO2OGsnDYFun3nPQm5T43ZpDaY-Rr5seDpD4sZRworKyrpNK2-tVXGlGpQj/s1600/akbar+1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghNntUqzwvdl29LkwzOsilAAZAqSmvTPy4gIIALu-sMdQH_KfcDYS_Ypua0fjTibT3Ja82arsDWjBO_7_G4kO2OGsnDYFun3nPQm5T43ZpDaY-Rr5seDpD4sZRworKyrpNK2-tVXGlGpQj/s1600/akbar+1.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit;">Close-Up of Akbar's Throne</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Dwd_Eqr31HBgEhVEdQShiJUXwFYMw4hceGenXxJIx92-gPMvP_lQIHL9vLD4QZPKtM1RRZCwkooTXAC3w7nO-rL_dg5jI-wt1T5yhB_LGIllYomE22NN1aIW_xK9rHU3d2vfq7lWzjjx/s1600/akbar+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: white; font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Dwd_Eqr31HBgEhVEdQShiJUXwFYMw4hceGenXxJIx92-gPMvP_lQIHL9vLD4QZPKtM1RRZCwkooTXAC3w7nO-rL_dg5jI-wt1T5yhB_LGIllYomE22NN1aIW_xK9rHU3d2vfq7lWzjjx/s1600/akbar+3.jpg" width="240" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit;">Axis Mundi of Fatehpur Sikri</span></td></tr>
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<span style="font-family: inherit;"><span style="font-size: 12pt; line-height: 115%;"><br /></span></span></div>
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<span style="font-family: inherit;"><span style="font-size: 12pt; line-height: 115%;">Fatehpur Sikri is a sixteenth century Mughal mandala
with a strong emphasis on the patron. Although this image implies that this is
simply a column and supporting beams in the centre of a room, this is actually
the throne of the great Mughal king, Akbar.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[7]</span></span></span><span style="font-size: 12pt; line-height: 115%;"> The
column is topped with a large, up-turned linga form. It is atop this form that
Akbar received visitors who stood below. The use of a column in a cosmological
representation in India dates back to the third century BCE in figures like the
Ashokan Pillar.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[8]</span></span></span><span style="font-size: 12pt; line-height: 115%;">
Figures such as these are </span><i style="font-size: 12pt; line-height: 115%;">axis mundi</i><span style="font-size: 12pt; line-height: 115%;">,
a means of connection between heaven and earth.</span><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[9]</span></span></span><span style="font-size: 12pt; line-height: 115%;"> At
Fatehpur Sikri, Akbar’s throne placed him between the two, potentially making
him a great communicator for both heaven and earth, god-like, or a king
ordained by the heavens over earth. The four beams that cross the room are
aligned in the four cardinal directions, extending his rule across the globe. The
column then acts like the centre of a monad, with the beams reaching out into
the world.</span></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfsU9Rbnl_TXTXbVR9fT39iVMYjVUZkskyC_TgvYdt4GUrtNvNSr57Kp0NLdCUWF_8yChPzB8ChKhrHhS6FKf5m7A1QmyrrT8lOmDbxC2FjGM-hRb6sSW7F_zjnLgELwW7U0LFTdUz_4m/s1600/Asokanpillar2.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: white; font-family: inherit;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEfsU9Rbnl_TXTXbVR9fT39iVMYjVUZkskyC_TgvYdt4GUrtNvNSr57Kp0NLdCUWF_8yChPzB8ChKhrHhS6FKf5m7A1QmyrrT8lOmDbxC2FjGM-hRb6sSW7F_zjnLgELwW7U0LFTdUz_4m/s1600/Asokanpillar2.jpg" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit;">Ashokan Pillar</span></td></tr>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;">Comparing the two, I find the mandala at Vimala to
be the more recognizable, perhaps because it is two dimensional. Despite their
different architectural styles, both the Vimala Temple and Fatehpur Sikri have
potential Western symbolism within their mandala forms. Although there is
much to be said on the Indian cosmological references in these mandala forms, the Western philosophies suggested in this post are fitting in comparison to
Western designs of the medieval period. What I can conclude from this brief
study is that there is much to uncover in my future studies concerning
the exchange of ideas between medieval Europe and the great subcontinent.</span></span></div>
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<br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: inherit;"> ~Emily</span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span> <span style="background-color: white;">North,
John David.<span class="apple-converted-space"> </span><i>Cosmos: An
Illustrated History of Astronomy and Cosmology</i>. Chicago: University of
Chicago, 2008. 174-77. Print.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn2">
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span><!--[endif]--></span> Huntington,
Susan L., and John C. Huntington. <i>The Arts of Ancient India: Buddhist,
Hindu, Jain</i>. New York: Weatherhill, 1985. 291-94. Print. <span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span><!--[endif]--></span> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Glasenapp, Helmuth Von, and Shridhar B. Shrotri.<span class="apple-converted-space"> </span><i>Jainism: An Indian Religion of
Salvation</i>. Delhi: Motilal Banarsidass, 1999. 74-75. Print.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span> <span style="background-color: white;">Daud
Sutton,<span class="apple-converted-space"> </span></span><i>Islamic Design: A
Genius for Geometry</i><span class="apple-converted-space"><span style="background-color: white;"> </span></span><span style="background-color: white;">(Somerset:
Wooden Books, 2007), pg. 8.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span> <span style="background-color: white;">Richard
Foster,<span class="apple-converted-space"> </span></span><i>Patterns of Though:
The Hidden Meaning of the Great Pavement of Westminster Abbey</i><span class="apple-converted-space"><span style="background-color: white;"> </span></span><span style="background-color: white;">(London: Butler and
Tanner, 1991), pg. 155 </span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span> <span lang="EN-US">Foster,
134.<o:p></o:p></span></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span> <span style="color: windowtext;">http://whc.unesco.org/en/list/255</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span> <span lang="EN-US">Huntington.<o:p></o:p></span></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span><!--[endif]--></span> <span class="reference-text">Mircea Eliade
(tr. Philip Mairet). 'Symbolism of the Centre' in<span class="apple-converted-space"> </span><span class="reference-text"><i>Images and Symbols. </i>Princeton, 1991. Keep in mind
that Western axis mundi were also in creation in these early centuries and very
similar to the Ashokan Pillar. Such structures include Trajan’s Column, dating
2<sup>nd</sup> century CE. The Ashokan Pillar greatly predates the dedication
to Trajan, but perhaps this is another example of global artistic exchange.</span></span></span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: inherit; font-size: x-small;"><span class="reference-text"><span class="reference-text"><br /></span></span></span>
<span style="font-size: xx-small;"><a href="http://www.hypersmash.com">www.Hypersmash.com</a></span></div>
</div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-82355765728915682072013-09-16T23:36:00.000+01:002013-09-17T01:21:29.189+01:00The Venice Cup and the Allure of Kufic<div style="text-align: justify;">
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<span style="font-family: inherit;"><span style="font-size: 12pt;">Arabic inscriptions in Islamic and European art follow one of three basic
forms: those which are legible, those containing either abbreviations or are of
an unclear form, and those which appear completely decorative and are commonly
referred to as pseudo-Kufic, pseudo-inscription, or pseudo-epigraphy. The
latter has the appearance of Arabic inscriptions, though pseudo-Kufic lacks
strict linguistic meanings or translatability, often appearing as purely
decorative. In a broad cultural context, Kufic epigraphy has been documented in
architecture, textile, painting, coins, crosses, and other items and forms of
material culture from Ireland</span><span class="Footnoteanchor"><span style="font-size: 12pt;"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[1]</span></span></span></span></span><span style="font-size: 12pt;"> to China</span><span class="Footnoteanchor"><span style="font-size: 12pt;"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span></span></span></span><span style="font-size: 12pt;"> during the Western medieval period and beyond. While legible Kufic
epigraphy has been studied as clear markers of cultural identity and praised as
primary sources in the development of Arabic calligraphy and culture,</span><span class="Footnoteanchor"><span style="font-size: 12pt;"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[3]</span></span></span></span></span><span style="font-size: 12pt;"> pseudo-Kufic has been relegated to the underappreciated art historical
corner of decoration, illiterate copying, or the occult.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: 36pt;">
<span style="font-family: inherit;"><span style="font-size: 12pt;">The <i>Venice
Cup</i> of the San Marco Treasury features pseudo-Kufic script around the edge
of the lip as well as on the base. The gilded and enamelled glass bowl or cup
features seven larger medallions of various mythological figures framed by
fourteen smaller medallions depicting heads in profile. Flower designs further
encompass the main medallions in red, blue, green, and yellow while the cup’s
silver handles with blue gem inserts are more likely a latter edition. Originally
the cup was interpreted as an “updated” antique bowl by Emile Molinier.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[4]</span></span></span></span>
However, Anthony Cutler and Ioli Kalavrezou are but some who have linked the
cup to Constantinople as a point of origin and specifically to the Macedonian
renaissance (867-1056 C.E.). For Kalavrezou ‘the cup does not revive classical
art, but holds onto the last remnants of a source of subject whose validity was
now less in the subject matter than in the conveyance of a certain form or
appearance’.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[5]</span></span></span></span>
Yet, it is in Alicia Walker’s examination of the pseudo-Kufic inscriptions,
which bring to question the occult, Classical, luxurious, and Islamic aspects
of the <i style="mso-bidi-font-style: normal;">Venice Cup.</i> </span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHTYRGrM7F95bHbH3UcuA6f_1xiuXVzHUYdkNZjD7NR8_QRFOfAih-ONfmr9Fb6Eb0YDl5fsbECxR_Q4OjfyvAx7CDI3mrum5q00xdc7X5qjYFC_XFKHk3rLutmX-5WxOZTYGIQTFPf0Rr/s1600/cup1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHTYRGrM7F95bHbH3UcuA6f_1xiuXVzHUYdkNZjD7NR8_QRFOfAih-ONfmr9Fb6Eb0YDl5fsbECxR_Q4OjfyvAx7CDI3mrum5q00xdc7X5qjYFC_XFKHk3rLutmX-5WxOZTYGIQTFPf0Rr/s320/cup1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Venice Cup</span></td></tr>
</tbody></table>
<br />
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify; text-indent: 36pt;">
<span style="font-family: inherit;"><span style="font-size: 12pt;">The occult
practices in Byzantium and the surrounding Islamic territories provide some
cultural links between the two cultures and offers further explanations for the
use of pseudo-Kufic on the Venice Cup. ‘It has long been a popular Islamic
belief that letters would exert some magical force if written in special ways’<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[6]</span></span></span></span>
which can be seen in a pseudo-Kufic inscriptions in a fifteenth-century Syrian
brass casket lids, in magic-medicinal bowls in the twelfth century,<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[7]</span></span></span></span>
and in Islamic seals from the seventh and eighth-centuries which were
transformed into apotropaic devices.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[8]</span></span></span></span>
A ninth-century astrologer Balkh Abū Ma‘shar teaches his student Abū Sa‘īd
Shādhān in <i>De revolutionibus </i>the lineage of astrological study,
beginning with the Chaldeans and then the Indians, Syrians, and finally the
Arabs.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[9]</span></span></span></span>
The tenth-century Byzantine <i>Souda</i> states ‘that sorcery and magic were
invented by the ancient Persians and Medes’<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[10]</span></span></span></span>
which demonstrates a similar worldview by both Byzantine and Arabic sources.
From the Byzantine perspective, the language, and thus the visual formal
elements of Arabic can be seen as connected with studies in the occult and
sciences.</span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: inherit;"><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>In
terms of the epigraphy of the Venice Cup, Walker notes instances of
undecipherable Arabic inscriptions in occult contexts to explain how
pseudo-Kufic ‘is still potentially significant, its cryptic character contributing
to its esoteric and magic value...[and] can function as an occult language much
as the <i>Ephesia grammata</i> of the Greek magic tradition’.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[11]</span></span></span></span>
Walker links the depictions in the larger medallions to Greco-Roman gods, and
their astrological counterparts, creating a strong argument for the use of the
cup in ‘lecanomantic hydromantic practices’.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[12]</span></span></span></span>
While the tradition of divination was wide spread and gained imperial support
for a time, the <i>Venice Cup</i> can be understood in more than simply occult
terms. The connection between pseudo-Kufic and luxury objects is established
both in Islamic sources as well as in Byzantine chronicles and letters. This
demonstrates ‘that a shared culture of shared objects implies a certain
commonality of court behaviour and of court practices’, as objects depicting
inscriptions are stated in <i>Kitab al-Dhakha’ir</i>as gifts between Arabic and
Byzantine sources, both internally and externally.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[13]</span></span></span></span></span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqTIlJXcZ8ODBc7va9QPbZYKTnveOadaqWwxU39l5arMKeQARHH_oTZaxeOzJolN2EAM9LNZEkNDFHCDDJYm60kqTsZrCJgErfvkfnHFoz5gUAaTj14N9viXxsa_IHvFquFrzkUeXRZdOX/s1600/cup2.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqTIlJXcZ8ODBc7va9QPbZYKTnveOadaqWwxU39l5arMKeQARHH_oTZaxeOzJolN2EAM9LNZEkNDFHCDDJYm60kqTsZrCJgErfvkfnHFoz5gUAaTj14N9viXxsa_IHvFquFrzkUeXRZdOX/s320/cup2.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Detail of Apollo</span></td></tr>
</tbody></table>
<span style="font-family: inherit;"><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Constantine
VII Porphyrogennetos responds in a letter of thanks to Theodore Metropolitan of
Ayzikos, “I was thankful to the sender, I marvelled at the Arabic cup, its
variegated <beauty>, its smoothness, its delicate work...I also feel a
great pleasure, greater than if the famous nectar were abundantly pour over my
lips”.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[14]</span></span></span></span>
The visual beauty of the Arabic cup is espoused in no small terms and the
importance of gifting in the period proves a fertile ground for the cultural
translation of pseudo-Kufic through inscribed objects. <span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[15]</span></span></span></span>
Whether Byzantine or Muslim, parades of gifts feature heavily in the two
cultures, allowing for public displays of the private gifts.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[16]</span></span></span></span>
When noting the pleasure Constantine VII <a href="http://www.blogger.com/null" name="__DdeLink__344_2040062980">Porphyrogennetos</a>
feels when viewing his Arabic cup, the pseudo-Kufic of the <i>Venice Cup</i>
can be seen as not only a potential occult marker but also as a cross-cultural
motif of luxury. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: inherit;"><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>Perhaps
the explanation lies within the Kufic script itself as a plastic formal element
designed for increasingly complicated and abstracted forms. ‘The birth of Kufic
represented, in many ways, a radical break with the past in which Hijazi had
still been anchored. The rules that were defined at the outset of the Kufic
tradition essentially remained the same throughout its lifetime’.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[17]</span></span></span></span>
Alain George seeks to explain this phenomenon in his work <i>The Rise of
Islamic Calligraphy</i> by addressing the geometric nature imbedded in the
design of Arabic. George writes, ‘Kufic, in sum, was built upon a geometric
expansion that linked its elements, from the thickness of the pen to the page,
through a series of proportional relationships’.<span class="Footnoteanchor"><span style="mso-special-character: footnote;"><span class="Footnoteanchor"><span style="font-size: 12pt; line-height: 115%;">[18]</span></span></span></span>
Ultimately, the question of why pseudo-Kufic became a popular form in both
Muslim and non-Muslim art forms can be more readily answered in that
pseudo-Kufic functioned through its iconographical use, i.e. luxury or occult,
and through the formal elements inherit to the construction of the script which
allowed it be used in increasingly plastic means. </span></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; text-align: justify;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">-Samuel</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span></div>
<div style="text-align: justify;">
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<span style="font-family: inherit; font-size: x-small; line-height: 115%;">Figures: </span></div>
<div class="MsoNormal">
<span style="font-family: inherit; font-size: x-small;"><i><span style="line-height: 115%;">Venice Cup</span></i><span style="line-height: 115%;">,
Byzantine, ca. 10<sup>th</sup> Century, Glass, gilded and painted, silver-gilt,
stones, Height 170 mm, Diameter 170 mm, Overall width 330 mm, Tesoro, no. 109,
Venice.</span></span></div>
<div style="text-align: justify;">
<br />
<hr size="1" style="margin-left: 0px; margin-right: 0px;" width="33%" />
<div id="ftn1">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span></span>Petersen, Andrew.
2008. ‘The Archaeology of Islam in Britain: Recognition and Potential’, <i>Antiquity</i>,
82: 1082.</span></div>
</div>
<div id="ftn2">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span></span></span><span class="MsoFootnoteReference"> </span>Aanavi, Don. 1970. <i style="mso-bidi-font-style: normal;">Islamic Pseudo Inscriptions</i> (Ann Arbor,
University Microfilms International): 15.</span></div>
</div>
<div id="ftn3">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></span> Sauvaget, Jean.
1965. <i>Introduction to the History of the Muslim East: A Bibliographical</i> <i>Guide</i>
(London, Cambridge University Press): 52</span></div>
</div>
<div id="ftn4">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></span> Buckton, David.
1985. <i style="mso-bidi-font-style: normal;">The Treasury of San Marco</i>
(Milan, Olivetti): 182.</span></div>
</div>
<div id="ftn5">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></span> Ibid., 278.</span></div>
</div>
<div id="ftn6">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></span><span style="mso-bidi-font-family: "Times New Roman";"> Aanavi, Don. 1970. <i style="mso-bidi-font-style: normal;">Islamic Pseudo Inscriptions</i> (Ann Arbor,
University Microfilms International): 83; Porter, Venetia. 2004. ‘Islamic
Seals: Magical or Practical?’, <i style="mso-bidi-font-style: normal;">Magic and
Divination in Early Islam </i>(Surrey, Ashgate Publishing Limited): 187</span><span lang="EN-US" style="mso-ansi-language: EN-US;">.</span></span></div>
</div>
<div id="ftn7">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></span><span style="mso-bidi-font-family: "Times New Roman";"> Savage-Smith, Emilie et al.
1997. <i style="mso-bidi-font-style: normal;">Science, Tools, and Magic: Part
One: Body and Spirit, Mapping the Universe </i>(Oxford, Oxford University
Press): 73</span><span lang="EN-US" style="mso-ansi-language: EN-US;">.</span></span></div>
</div>
<div id="ftn8">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></span><span style="mso-bidi-font-family: "Times New Roman";"> Porter, Venetia. 2004. ‘Islamic
Seals: Magical or Practical?’, <i style="mso-bidi-font-style: normal;">Magic and
Divination in Early Islam </i>(Surrey, Ashgate Publishing Limited): 184.</span></span></div>
</div>
<div id="ftn9">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span></span></span><span style="mso-bidi-font-family: "Times New Roman";"> Pingree, David. 1989. Classical
and Byzantine Astrology in Sassanian Persia’, <i style="mso-bidi-font-style: normal;">Dumbarton <span style="mso-spacerun: yes;"> </span>Oaks Papers</i>, 43:
227.</span></span></div>
</div>
<div id="ftn10">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[10]</span></span></span></span> Walker, Alice. <span style="mso-bidi-font-family: "Times New Roman";">2008. ‘Meaningful Mingling:
Classicizing Imagery and Islamicizing Script in a Byzantine Bowl’,<i style="mso-bidi-font-style: normal;"> The Art Bulletin</i>, 90: 44.</span></span></div>
</div>
<div id="ftn11">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; vertical-align: baseline;">[11]</span></span></span></span></span><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"> </span></span>Ibid.,
46.</span></div>
</div>
<div id="ftn12">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; vertical-align: baseline;">[12]</span></span></span></span></span><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"> </span></span>Ibid.,
47-52.</span></div>
</div>
<div id="ftn13">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%; vertical-align: baseline;">[13]</span></span></span></span></span><span class="MsoFootnoteReference"><span style="vertical-align: baseline;"> </span></span>Weitzmann,
Kurt. 1981. ‘Representations of Hellenic Oracles in Byzantine Manuscripts’, Classical
Heritage<i style="mso-bidi-font-style: normal;"> in Byzantine and Near Eastern Art</i> (London,
Variorum Reprints): 409</span></div>
</div>
<div id="ftn14">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[14]</span></span></span></span><span class="MsoFootnoteReference"> </span>Kalavrezou, Ioli. 2007. ‘The Cup of San Marco and
the “Classical” in Byzantium’, <i style="mso-bidi-font-style: normal;">Late Antique
and Medieval Art of the Mediterranean World</i> (Oxford, Blackwell Publishing):
282.</span></div>
</div>
<div id="ftn15">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[15]</span></span></span></span><span class="MsoFootnoteReference"> </span>Grabar, <span lang="EN-US" style="mso-ansi-language: EN-US;">Oleg. </span>2010.
‘The Shared Culture of Objects’, <i style="mso-bidi-font-style: normal;">Islamic
Visual Culture, 1100-1800: Constructing the Study of Islamic Art, Volume II</i>
(Surrey,<span style="mso-spacerun: yes;"> </span>Ashgate Publishing Limited):
51-67</span></div>
</div>
<div id="ftn16">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[16]</span></span></span></span><span class="MsoFootnoteReference"> </span>Culter, Anthony. 2008. ‘Significant Gifts:
Patterns of Exchange in Late Antique, Byzantine, and Early Islamic Diplomacy’, <i style="mso-bidi-font-style: normal;">Journal of Medieval and Early Modern Studies</i>,
38: 92.</span></div>
</div>
<div id="ftn17">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[17]</span></span></span></span><span class="MsoFootnoteReference"> </span>George, Alan. 2010. <i>The Rise of Islamic
Calligraphy</i> (London, SAQI): 55</span></div>
</div>
<div id="ftn18">
<div class="MsoNoSpacing">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[18]</span></span></span></span><span class="MsoFootnoteReference"> </span>Ibid., 57.</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span></div>
</div>
</div>
<div style="text-align: justify;">
<span style="font-size: x-small;"><a href="http://www.hypersmash.com">Hyper Smash</a></span></div>
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-71144409277045039282013-09-10T12:32:00.000+01:002013-09-17T01:40:58.122+01:00Converting the Other in the Cantigas de Santa Maria<div style="text-align: justify;">
<style type="text/css">P { margin-bottom: 0.21cm; }A.sdfootnoteanc { font-size: 57%; }</style>
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<div style="font-style: normal; line-height: 150%; margin-bottom: 0cm; orphans: 2; text-align: justify; widows: 2;">
<span style="font-family: inherit;"><span style="color: black;">As
in only few other instances in medieval history, the kingdoms on the
Iberian peninsula had populations of different religions living in
often close proximity. Without question this posed a number of
problems for the Christian church, one of them being the conversion
of Christians to Islam or Judaism. That these conversions <span style="font-size: small;">occurred</span> is
documented, though they were not so much happening in large numbers<span style="color: red;"> </span>but rather in
individual cases.<sup style="color: black;"><span style="background: rgb(255, 255, 255);"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote1sym" name="sdfootnote1anc"><sup>1</sup></a>
</span></sup><span style="color: black; font-weight: normal;">Nevertheless, they
were anything but welcomed by the church. It is not very surprising
therefore that we, at least to my knowledge, don't find visual
material depicting conversions to Islam or Judaism. Conversions to
Christianity, however, both from Islam and Judaism, were indeed
depicted by Christian artisans.</span><span style="font-size: small;"><span style="font-weight: normal;">I
will in short present two examples of such imagery in this post, both
are part of the Cantigas de Santa Maria manuscript in the </span><span style="font-weight: normal;">El
Escorial (ms. T.I.1).</span></span></span></span></div>
<div style="font-style: normal; font-weight: normal; line-height: 150%; margin-bottom: 0cm; orphans: 2; text-align: justify; widows: 2;">
<span style="font-family: inherit;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; orphans: 2; text-align: justify; widows: 2;">
<div class="separator" style="clear: both;">
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">On
fol. 68v the visual narrative begins by presenting the
Christian-to-be as looter of Christian property,<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRIozVV8AvpZc2AzEFTzQrCTujU3f2ugpJ7UgbmAGl3EFu0Lnm0Tv69h7C0MRRSRjXS16jyY7wIOY1MqCumD_uquE8TI6M3EDan7N5vvasrGri7w-krwXypMtl4LhcMCz1omg_udrv9Df9/s1600/sc.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRIozVV8AvpZc2AzEFTzQrCTujU3f2ugpJ7UgbmAGl3EFu0Lnm0Tv69h7C0MRRSRjXS16jyY7wIOY1MqCumD_uquE8TI6M3EDan7N5vvasrGri7w-krwXypMtl4LhcMCz1omg_udrv9Df9/s320/sc.jpg" width="216" /></a></span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><span style="font-size: small;"> </span>illustrated in the
two images in the top register. His turban and beard mark him as
Muslim. He is then shown selling everything, apart from on single
image of the Virgin Mary and Christ child, which he keeps for himself
and that he ostentatiously presents in the second register. The
narration then switches to his home. Here the image of the Virgin
miraculously begins to lactate, thereby convincing him and his family
to convert, which is illustrated in the last image on the page. Several points
about this imagery are notable. While the text of the story focussed
on the man and the wonder taking place in his home, the illustrations
have an additional scene taking place simultaneously to the miracle.
The wife and child of the man, depicted on the left were added in the
illuminations</span></span></span><span style="color: black;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">.
She and her child are indiscernible from Christians by their looks
alone. The space within which they are depicted however makes
their religious affiliation unmistakeable: a piece of cloth abo</span></span></span></span><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;">ve
the alcove, where she sits with her child identifies her as Muslim.
Tied around two pillars, it displays pseudo-kufic script framed by
four swastik<span style="font-size: small;">as</span></span></span></span></span><span style="color: black;"><span style="font-size: small;"><span style="font-size: small;">. </span>While
mother and child appear to be in embrace in the first of these two
scenes, in the second one she breast feeds him. Remarkably, this is
the very scene in which the image of the Virgin stars lactating. The
two women are thereby linked through the act of giving milk.</span></span></span></div>
<div class="separator" style="clear: both;">
<br /></div>
</div>
<div style="line-height: 150%; margin-bottom: 0cm; orphans: 2; text-align: justify; widows: 2;">
<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoa2YcgiLrKguEdPVX7TLGoHBqT0lRmA4bHfC5w9mnrOwJnfdjG5zE3ictzaW9g-fgiMZyM70PChz8ADOYM5aQAN_yEM5-5himCmHGCOY88jJ61G8wffhIHmYU6RxVYWcqcpxKU_P1L13F/s1600/DSCN1377.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoa2YcgiLrKguEdPVX7TLGoHBqT0lRmA4bHfC5w9mnrOwJnfdjG5zE3ictzaW9g-fgiMZyM70PChz8ADOYM5aQAN_yEM5-5himCmHGCOY88jJ61G8wffhIHmYU6RxVYWcqcpxKU_P1L13F/s320/DSCN1377.JPG" width="320" /></a></span><span style="font-family: inherit;"><span style="font-size: small;"><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;">Several
conclusions might be drawn from the imagery. For one the conversion<span style="font-size: small;"> </span>is the result of miracles, so that one might be in</span></span></span><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">clined
to suggest that the imagery implies the Muslim figures are so far
away from god, that they need a</span></span></span><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
miracle to be converted.</span></span></span><sup style="color: black;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote2sym" name="sdfootnote2anc"><sup>2</sup></a></span></span></span></sup><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
However, one must not forget the text itself, miracles are the
central part of all of the narrations of the Cantigas simply due to
th</span></span></span><span style="color: black;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">e
genre. The visual link that is established between the Virgin and the
Muslim woman further contradicts with this explanation. Instead it
seems plausible to suggest that the contemporary approach regarding the
Islamic </span></span></span></span><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;">threat
in the thirteenth-century is reflected in these images. A strategy of
conversion rather than of elimination, which also had an impact on
other media as the </span></span></span><span style="color: black;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;">Vita</span></span></span></span><span style="color: black; font-size: small;"><span lang="en-GB"><span style="font-style: normal;">
of St. Raymond shows, terminus ante quem 1351, that tells of the
conversion of more than ten-thousand Muslims.</span></span></span><sup style="color: black;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote3sym" name="sdfootnote3anc"><sup>3</sup></a></span></span></span></sup></span></span></div>
<div style="line-height: 150%; margin-bottom: 0cm; orphans: 2; text-align: justify; widows: 2;">
<span style="font-family: inherit;"><br /></span></div>
<div style="line-height: 150%; orphans: 2; text-align: justify; widows: 2;">
<div class="separator" style="clear: both;">
<span style="font-size: small;">A
different story is told in Cantiga 25. Illustrated over two pages,
the Cantiga tells of a Christian who borrowed money from a Jewish
money lender. When the time for paying the money back comes, the
Christian happened to be in a different city, unable to give it back
himself. By calling upon the Virgin he is eventually able to deliver
a chest with the money through a miracle. The Jew, however, decides
to hide the chest and pretends to have never received the money. His
scheme is eventually foiled and<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQRi_w-vzJP8DODAjuGayKftrzr720dacgFRvKjsYjzoqsQk7jeh5pRYomPf4TH0xxUJgttGjz9nBYLr1l6bJuJVfzOIwHilRAxgJpOnMqQWHn0wECZGmZ7-fADRYPEFXoGaoATg7aD1nC/s1600/DSCN1378.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQRi_w-vzJP8DODAjuGayKftrzr720dacgFRvKjsYjzoqsQk7jeh5pRYomPf4TH0xxUJgttGjz9nBYLr1l6bJuJVfzOIwHilRAxgJpOnMqQWHn0wECZGmZ7-fADRYPEFXoGaoATg7aD1nC/s320/DSCN1378.JPG" width="240" /></a></span>exposed by the Virgin, resulting in
his conversion to Christianity. While the Jew is the depicted with what at that time were commonly used visual markers such as,
a crooked nose, pointed hat and a beard, it is notable that his
conversion results in a visual change. <span style="font-size: small;">H</span>e is depicted in
profile view in every single image before the conversion, a technique often used for figures of questionable character, but during his baptism he is shown in a three-quarter profile view.4</div>
<span style="font-size: small;"><sup style="color: black;"><span style="font-size: small;"><span lang="en-GB"><span style="font-style: normal;"><a class="sdfootnoteanc" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote4sym" name="sdfootnote4anc"><sup></sup></a></span></span></span></sup></span><br /></div>
<div style="line-height: 150%; orphans: 2; text-align: justify; widows: 2;">
<span style="font-family: inherit;"><span style="font-size: small;">As
in the other image, it appears as if these images reassure their readers that the religious Others can be tamed, that the Other while in
their midst might be made into one of their own. The reality,
however, was quite different, even if Muslims or Jews converted to
Christianity they were frequently still considered suspicious
characters. One might suggest therefore that these scenes of
conversion are not manifestations of the desire for a peaceful
life together under one religion. Rather they are a reassurance of
the superiority of the Christian belief, presenting the audience with visual evidence of Christianity's victory both on the material
plane (as e.g. in scenes of military success that I have not
discussed here) and on the spiritual plane.</span></span></div>
<div style="line-height: 150%; orphans: 2; text-align: justify; widows: 2;">
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">-Fabian</span><br />
<span style="font-family: inherit;"><br /></span></div>
<div id="sdfootnote1" style="text-align: justify;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote1anc" name="sdfootnote1sym">1</a><span lang="en-GB">Burns,
Robert I, </span><span lang="en-GB"><i>Las Siete Partidas</i></span><span lang="en-GB">
Vol. 5 (Philadelphia : Univ. of Pennsylvania Press, 2001),
xxxiv-xxxv, 1439-1440.</span></span></span></span></div>
</div>
</div>
<div id="sdfootnote2" style="text-align: justify;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote2anc" name="sdfootnote2sym">2</a><span lang="en-GB">Lipton,
Sara, </span>“<b><span style="font-weight: normal;">Where</span></b><span style="font-weight: normal;">
are the </span><b><span style="font-weight: normal;">Gothic</span></b><span style="font-weight: normal;">
</span><b><span style="font-weight: normal;">Jewish</span></b><span style="font-weight: normal;">
women? On the non-iconography of the Jewess in the Cantigas de Santa
Maria', in </span><i><span style="font-weight: normal;">Jewish
History</span></i><span style="font-weight: normal;">, 22 1/2 (2008),
139-177</span></span></span></span></div>
</div>
</div>
<div id="sdfootnote3" style="text-align: justify;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote3anc" name="sdfootnote3sym">3</a><span lang="en-GB">Smith,
Collin, </span><i>Christians and Moors in Spain </i><span lang="en-GB"><i>Vol.
2</i></span><span lang="en-GB"> (Warminster : Aris & Phillips,
1989) 60-63.</span></span></span></span></div>
</div>
</div>
<div id="sdfootnote4" style="text-align: justify;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<div style="margin-bottom: 0cm; margin-left: 0.6cm; orphans: 2; text-indent: -0.6cm; widows: 2;">
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><a class="sdfootnotesym" href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#sdfootnote4anc" name="sdfootnote4sym">4</a>See
Mellinkoff, <i>Ruth, Outcasts: Signs of Otherness in Northern
European Art of the Late Middle Ages</i> (Berkeley: University of
California Press, 1993) for a detailed account of visual markers for
the Other.</span></span></span><br />
<br />
<br />
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;">Images:</span></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;">1. fol 68v<span style="font-size: x-small;">. <span style="font-size: x-small;">ms. T.I.1, El <span style="font-size: x-small;">Escorial</span></span></span></span></span></span><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;">, from Prado-V<span style="font-size: x-small;">ilar, Francesco, 'The Gothic <span style="font-size: x-small;">Anamo<span style="font-size: x-small;">rphic Gaze' in <i>Under the Infl</i><span style="font-size: x-small;"><i>uence. Questioning the Comparative</i><span style="font-size: x-small;"><i> in Medieval Castile</i><span style="font-size: x-small;">, ed<span style="font-size: x-small;">s. Cynthia Robinson <span style="font-size: x-small;">a. Leyla<span style="font-size: x-small;"> Rouhi (L<span style="font-size: x-small;">eiden: Brill, 2004)</span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">2. detail </span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;">fol 68v<span style="font-size: x-small;">. <span style="font-size: x-small;">ms. T.I.1, El <span style="font-size: x-small;">Escorial, from Patton, Pamela A., <i>Art of Estrangement. Redefining Jews in Reconquest S<span style="font-size: x-small;">pain</span></i> (University Park: Univ. of Pennsylvania Press, 2012)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">3. fol 39r </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;">ms. T.I.1, El <span style="font-size: x-small;">Escorial, from Patton, Pamela A., <i>Art of Estrangement. Redefining Jews in Reconquest S<span style="font-size: x-small;">pain</span></i> (University Park: Univ. of Pennsylvania Press, 2012)</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
<span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: inherit;"><span style="color: black;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><br /></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>
<span style="font-size: x-small;"><a href="http://www.hypersmash.com">Hyper Smash</a></span><br />
<br /></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-21865724278999135812013-09-02T21:06:00.002+01:002013-09-28T02:45:41.025+01:00Unity, Wholeness, and Continuity in the Monadic Form<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;">In the Middle Ages the teachings of Pythagoras were
well respected and studied in both the Western and Byzantine-Arab parts of the
world. Priya Hemenway, author of <i>The
Secret Code</i>, wrote that “the Pythagoreans believed that nothing exists
without a centre around which it revolves. The centre is the source and it is
beyond understanding, it is unknowable, but like a seed, the centre will expand
and will fulfil itself as a circle.”<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a>
This is the essence of the Pythagorean monad, the basis for forms used in the
measurement known as the Divine Proportion. The term <i>monad</i> derives from either the Greek <i>menein</i> (to be stable) or <i>monas</i>
(oneness) and has become known as a symbol for The Seed, Essence, The Builder,
Foundation, and Unity.<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a>
Medieval thinkers like Abbot Suger valued the monad for its moral symbolism in
relation to the finding of one’s self or perhaps God. This belief or moral idea
originates as a “seedling” and grows into a full-fledged circle as the idea
grows within the individual or spreads to others. Medieval architects used this
form in the construction of many works of architecture during both ancient and
medieval times hoping the building would be built on a foundation of wholeness,
unity, or continuity. In this post I will examine two works of architecture from
varying time periods (the Pantheon and Notre Dame Chartres) to better understand the development of the monad and the
monad’s possible symbolic qualities at each of the sites. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;">A circle is synonymous with unity or continuity, but
the monad differs as it is a circle encompassing a dot or smaller circle. This
smaller model is the seed, the place in which the circle grows from. This point
is constant and remains in place and size as the circle grows. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UkFoAZBG8j6sP6nbvALQcl6AqbOXrO0RwPY5E13psYfeKhxLq6juxRSMIxZJFP_h0wpyPsSOvjX0TShYCkuJdaBjAbLHINCmNMlX2MO8VZss126OO5YSFAJRhlr0pX2aVUdASyQ0MtzD/s1600/Monad.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-UkFoAZBG8j6sP6nbvALQcl6AqbOXrO0RwPY5E13psYfeKhxLq6juxRSMIxZJFP_h0wpyPsSOvjX0TShYCkuJdaBjAbLHINCmNMlX2MO8VZss126OO5YSFAJRhlr0pX2aVUdASyQ0MtzD/s1600/Monad.png" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit; font-size: small;">Monad</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 115%;"> </span><span style="line-height: 115%;">Hadrian’s Pantheon of the 2<sup>nd</sup> century CE
is a product of the Pythagorean monad. Plato’s <i>Timeaus</i>, which echoes the ideologies of Pythagoras, was a highly
read source during the time and likely where Hadrian pulled inspiration for his
design.<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span></span></a>
The structure is aligned with the four cardinal directions, is circular with a
central axis, and features an oculus which in this case, serves as the seed of
the monad. The oculus was created in homage to Apollo, the god of the sun.
Apollo’s symbol is the monad being that his name is loosely translated to
“without multiplicity,” similar to that of the monad since it remains one
circle no matter how many times it multiplies in size and layers.”<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span></span></a>
The twenty-eight ribs of the vault are a reference to the lunar calendar and
the circular layout implies repetition and continuity in the months.<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span></span></a>
The sun (the oculus) and the moon (the ribs) placed within the monad represent
the marriage of the two. This is not only implied in their shared placement
within the monad, but also in the five registers which created the coffers in
the dome. Five is the sum of two (the first female number) and three (the first
male number) and is therefore their product after uniting.<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span></span></a>
The union of male/female and sun/moon in turn is a reference to the
continuation of man and the cosmos.<a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span></span></a> In
conclusion, the Pantheon’s monad is a religious reference to the god </span><span style="line-height: 115%;">Apollo and a cosmological reference
to the constant growing of the universe.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhew7-GkkgG3Z78BqF_oIsr6Whs6I9GkbiBqfZw56CkIbLf6-T2L2Lf003-TBTMTg4MHpsAjVonMrHBgxriNo0qLn5WktyljDkMsMnr5IP5_E45wQRgVnHSxMuOXXNtjxG_hNO2SD6ySWkD/s1600/Pantheon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhew7-GkkgG3Z78BqF_oIsr6Whs6I9GkbiBqfZw56CkIbLf6-T2L2Lf003-TBTMTg4MHpsAjVonMrHBgxriNo0qLn5WktyljDkMsMnr5IP5_E45wQRgVnHSxMuOXXNtjxG_hNO2SD6ySWkD/s1600/Pantheon.jpg" height="266" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit; font-size: small;">Dome/Monad of the Pantheon</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;">Classical era structures like the Pantheon paved the
way for medieval designs that wished to incorporate a monad with both religious
and cosmological meaning. As polytheism faded to the rise of
Christianity, the monad adopted Christ as the new seed in the Middle Ages. The
school of Chartres studied the monad through the antique documents of Plato,
taking into consideration the form’s cosmological and religious potential.
Notre Dame Chartres (NDC) implemented the monad in the design of the rose
windows. Dionysius of Areopagite, Dante, and Abbot Suger have all commented on
the splendour and ecclesiastical symbolism of the light provided by the
windows, but as that has been discussed in a <a href="http://beyondborders-medievalblog.blogspot.com/2012_11_01_archive.html" target="_blank">previous post</a>, I would like to
stay focused on the monadic qualities of the West rose window. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgopd9swN49TP_56wQlX-IB8HzrFHscQ6y2EvDfZqZ0F6t-oCaSw0lI0wAtRJx5cAw8WDUFTohdQmlGEAreAVqHXXTA7pIQahMvsJp1ePJsZLlNrdg0x_KpSr6sYqzLto_ujvWoRRTz529n/s1600/Monad+NDC.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgopd9swN49TP_56wQlX-IB8HzrFHscQ6y2EvDfZqZ0F6t-oCaSw0lI0wAtRJx5cAw8WDUFTohdQmlGEAreAVqHXXTA7pIQahMvsJp1ePJsZLlNrdg0x_KpSr6sYqzLto_ujvWoRRTz529n/s1600/Monad+NDC.png" height="286" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white; font-family: inherit; font-size: small;">NDC West Rose Window Monad</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 115%;"> </span><span style="line-height: 115%;">In this image I have highlighted the seed of the
monad in red which is also the image of Christ. The yellow and blue circles
represent growth of the circle, and symbolically, the spreading of the Word of
Christ. Being that Jesus is the son of God, His presence can also be
interpreted as The Sun. As discussed in a previous post, the number twelve is
present in the growing of the circle.</span><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn8" name="_ftnref8" style="line-height: 115%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span></span></a><span style="line-height: 115%;">
The Sun/Son rests on quatrefoil representing the four seasons and twelve refers
to the twelve months of the year.</span><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftn9" name="_ftnref9" style="line-height: 115%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span></span></a><span style="line-height: 115%;"> I
believe the increasing circles of the monad represent the passing of the years,
and in a biblical sense the passing of Christ’s Word over the years increasing
the size of the Christian world.</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;">Although I have only provided two examples in this
post, the monad is found across the globe in buildings of both ancient and
medieval construction. The monad is present in the floor plan of Dome of the
Rock, Delphi, the Westminster Abbey Cosmati Pavement, the dome of Hagia Sophia,
and many, many more historic sites. Pythagoras so keenly promoted this form not
only for its symmetrical perfection and geometric simplicity, but because of
the symbolic possibilities in its usage. The symbolic interpretation may have
changed over time, but the underlying theme of growth, unity, and continuity
remained as constant as the “seed” which is the essence of the monad.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="line-height: 115%;"><span style="font-family: inherit;"> ~Emily</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<hr size="1" style="margin-left: 0px; margin-right: 0px;" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoNormal" style="margin: 0in 0in 0.0001pt 0.5in; text-indent: -0.5in;">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[1]</span></span><!--[endif]--></span></a> Hemenway,
Priya. "Pythagoras and the Mystery of Numbers." <i>The Secret Code:
The Mysterious Formula That Rules Art, Nature, and Science.</i> [S.l.]:
Evergreen, 2008. 51. Print. <span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[2]</span></span><!--[endif]--></span></a> <span lang="EN-US">Ibid.<o:p></o:p></span></span></div>
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<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[3]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Joost-Gaugier, Christine L.<span class="apple-converted-space"> </span><i>Measuring
Heaven</i>. Ithaca: Cornell University, 2006. 167-168. Print.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[4]</span></span><!--[endif]--></span></a> <span lang="EN-US">Ibid.<o:p></o:p></span></span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[5]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Foster, Richard.<span class="apple-converted-space"> </span></span><i>Patterns of Thought: The Hidden Meaning of the Great Pavement
of Westminster Abbey</i>. London: Jonathan
Cape, 1991. 155. Print.<span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[6]</span></span><!--[endif]--></span></a> <span style="background-color: white; background-position: initial initial; background-repeat: initial initial;">Joost-Gaugier, 167-168.</span><span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[7]</span></span><!--[endif]--></span></a> <span lang="EN-US">Ibid.<o:p></o:p></span></span></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[8]</span></span><!--[endif]--></span></a> <span style="background-color: white;">Miller,
Malcolm B.<span class="apple-converted-space"> </span></span><i>Chartres Cathedral: The Medieval Stained Glass and Sculpture</i>. London: Pitkin Pictorials, 1980. 92. Print.<span lang="EN-US"><o:p></o:p></span></span></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><a href="file:///C:/Users/emily/Desktop/Unity%20&amp;%20Wholeness%20in%20the%20Monadic%20Form.docx#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="line-height: 115%;">[9]</span></span><!--[endif]--></span></a> <span style="background-color: white;">Lundy, Miranda.<span class="apple-converted-space"> </span></span><i>Sacred Geometry</i>.
New York: Walker &, 2001. 46-47. Print<span style="background-color: white;">.</span></span><span lang="EN-US"><o:p></o:p></span><br />
<span style="font-family: inherit; font-size: x-small;"><span style="background-color: white;"><br /></span></span>
<span style="font-size: x-small;"><a href="http://www.hypersmash.com">Hyper Smash</a></span></div>
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com2tag:blogger.com,1999:blog-5078577775807134423.post-89417722323437669922013-08-26T17:51:00.000+01:002013-12-17T02:43:41.804+00:00The Apotropaic Qur'an<!--[if gte mso 9]><xml>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEKvTxpwPtlSXoLiveFP_3NcV2Chbg0nIRzfzFvnp0RNt3LsgzcY6WRjOyWlA_miMSxXwdQ3fT1zLWiEG0Lkm9jA16gXjp-6xYB33eeMBn39yMM0XIsWUex74I96H90BS5Ou4jxtLL88bm/s1600/Sourate-An-Nas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEKvTxpwPtlSXoLiveFP_3NcV2Chbg0nIRzfzFvnp0RNt3LsgzcY6WRjOyWlA_miMSxXwdQ3fT1zLWiEG0Lkm9jA16gXjp-6xYB33eeMBn39yMM0XIsWUex74I96H90BS5Ou4jxtLL88bm/s400/Sourate-An-Nas.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">'I seek refuge in the Lord of mankind, the Sovereign of mankind, the God of mankind</span><br />
<span style="color: white;">from the evil of the retreating whisperer, who whispers [evil] into the breasts of mankind, from among </span><br />
<span style="color: white;">the jinn and mankind.' Surat an-Nas</span></td></tr>
</tbody></table>
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<span lang="EN-GB" style="font-family: inherit;">As an
artist, I am interested in the decorative aspects of Islamic Art. The
fluidity of written text that often time assumes various illustrative forms has an awe-inspiring quality, which continuously draws my attention. As an art
historian, I am drawn to the meaning that text and image represent,
which leads me to write about the use of the Qur’an as a conveyor of both decoration and
meaning. In this post I shall primarily focus upon textual intention and briefly explore the use of the verses from the Qur’an as a manner of protection.</span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzcbCFPltpTW6ZXzKr8jC-DOnpD5A_XP1-caEZXTEbSkVhCdEmVQ1XEsCandwA6eYxRtWUUKXyXh0wRehlEMe-EjpoutlDGSte7uxzyjADHvSQSic6i_gTflzgz9_5MyAiN3ldhEXQHTc5/s1600/evil+eye.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzcbCFPltpTW6ZXzKr8jC-DOnpD5A_XP1-caEZXTEbSkVhCdEmVQ1XEsCandwA6eYxRtWUUKXyXh0wRehlEMe-EjpoutlDGSte7uxzyjADHvSQSic6i_gTflzgz9_5MyAiN3ldhEXQHTc5/s200/evil+eye.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 1</span></td></tr>
</tbody></table>
<div style="text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman";"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 150%;">The
belief in the evil eye was prevalent amongst pre-Islamic Arabs, and people wore
a myriad of amulets to protect themselves, their homes and livestock from
attacks of evil spirits.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[1]</span></span></span><span style="line-height: 150%;">This practise continued to evolve and often time involved the assimilation of
other methods of creating amulets from other cultures. However, with the rise
and establishment of Islam as the dominant religion, verses of the Qur’an
replaced previous associations amulets may have had with other religions. </span>Amulets worn by the primitive Arabs were un-inscribed, but later the pre-Islamic Arabs wore amulets associated with Hebrew, Egyptian, and Gnostic writings<span style="line-height: 150%;">.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[2]</span></span></span></span></div>
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<div style="text-align: justify;">
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</div>
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<div style="text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqoyumdr_1tydpNczEW84A6DsIXg5vdhh-dDYMk89jmGMRQ2Fdhtn30i5R8cuZl6sScdTnNxmuQm2VbD-1zXPeg2TQmzQ1MxEte-Fszqzc859_puhrzFkhG1_D_IjbV_PA4g0fVPvBvHcI/s1600/Islamic+Amulet+1.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqoyumdr_1tydpNczEW84A6DsIXg5vdhh-dDYMk89jmGMRQ2Fdhtn30i5R8cuZl6sScdTnNxmuQm2VbD-1zXPeg2TQmzQ1MxEte-Fszqzc859_puhrzFkhG1_D_IjbV_PA4g0fVPvBvHcI/s320/Islamic+Amulet+1.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 2</span></td></tr>
</tbody></table>
<span lang="EN-GB" style="font-family: inherit;">The
incorporation of pre-Islamic magical beliefs and practises with verses of the
Qur’an possibly made the use of magic within the Islamic religious world more
acceptable. It has been suggested that Muhammad sanctioned the use of inscribed
amulets and, through the Qur’an, passed on to his followers the history of
Solomon as a magician and the emphasis of the apotropaic qualities that the
names of Allah held.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[3]</span></span><!--[endif]--></span>
The Qur’an is believed to possess magical or supernatural powers, which
coincides with the use of its verses within amulets as an element of
protection.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[4]</span><span lang="EN-GB" style="font-size: 11pt;"> </span></span></span></span></div>
</div>
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<span style="font-family: inherit;"><br /></span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 150%;">Moreover, certain suras of the Qur’an are considered extremely efficacious in
their apotropaic potency and are used more frequently within amulets.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[5]</span></span></span><span style="line-height: 150%;"><span style="font-size: x-small;"> </span>The fact that the Qur’an is believed to hold
the answers to all queries, coupled with the attested faith that Muslims hold
for the Qur’an, creates the potential for it to be intermingled with other
non-religious aspects in an acceptable manner.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[6]</span></span></span></span></div>
</div>
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<div style="text-align: justify;">
<span lang="EN-GB" style="font-family: "Times New Roman";"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 11pt;"><br /></span></span></span></span></div>
</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0wtj8NE_Pwp__o3BLD44V3OAh8N73LuK7gkZAM9nh2NWc1H7PsFKes3BL9bfRcL0_-I3EM4NBi2Qi7_qbG48b_BjF3xlI3M-sJTmmvE6NbgA_Du7mHCYWeXEGcEyJK_uWkw0QUe8QdbUo/s1600/Adomeit-mss-C6-image-1.jpg" style="margin-left: auto; margin-right: auto;" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 3</span></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfwUc5Zv-emQZNHW19XIR46J1AWT0-VeHHDeLAfIsOP8w05HWUU-9lVEwatRSlrbtP-tes1MBFYJloyKS5UKxFGNa9XQ4UtxtONSG6GdfCLd2aBDhXTKdOu8wXkF3Xh-GHaXIGDdwGfP1s/s1600/Adomeit-mss-C6-image-2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfwUc5Zv-emQZNHW19XIR46J1AWT0-VeHHDeLAfIsOP8w05HWUU-9lVEwatRSlrbtP-tes1MBFYJloyKS5UKxFGNa9XQ4UtxtONSG6GdfCLd2aBDhXTKdOu8wXkF3Xh-GHaXIGDdwGfP1s/s1600/Adomeit-mss-C6-image-2.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 4</span></td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0wtj8NE_Pwp__o3BLD44V3OAh8N73LuK7gkZAM9nh2NWc1H7PsFKes3BL9bfRcL0_-I3EM4NBi2Qi7_qbG48b_BjF3xlI3M-sJTmmvE6NbgA_Du7mHCYWeXEGcEyJK_uWkw0QUe8QdbUo/s1600/Adomeit-mss-C6-image-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>
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<span style="font-family: inherit;"><span style="line-height: 150%;">One
example of the Qur’an, or its verses, being used as an apotropaic intermediary
may be derived from some miniaturised examples of its text. These small codices
did not necessarily always contain the Qur’an as whole, but did consist of particular Qur’anic
chapters, verses, transcribed hadiths, or a selection of prayers.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[7]</span></span></span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5B3ZQp66gKsl6Z95FvOGKw5Cosi3_V67xoRzvr29cdcYNO9hab2df10Pru_u0bEG3PUwV4VxRJgQU9axzUwlv3Kq9x6venJ21LCaLNVCYsL8l7L_b4s_qxQ43hfDuje7_iA6mt-Ew5fbK/s1600/190L12220_6CZ9R_front.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5B3ZQp66gKsl6Z95FvOGKw5Cosi3_V67xoRzvr29cdcYNO9hab2df10Pru_u0bEG3PUwV4VxRJgQU9axzUwlv3Kq9x6venJ21LCaLNVCYsL8l7L_b4s_qxQ43hfDuje7_iA6mt-Ew5fbK/s320/190L12220_6CZ9R_front.jpg" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 5</span></td></tr>
</tbody></table>
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<span style="font-family: inherit;"><span style="line-height: 150%;">
One cannot suppose that all miniature Qur’ans were used for an apotropaic
means, but the use of Qur’anic verses has been identified on various amulets.<span style="font-size: x-small;">[8]</span> Furthermore, the
incorporation of miniaturised verses have been implemented on talismanic shirts
meant to be worn in battle as a metaphysical protective layer.<span style="font-size: x-small;">[9]</span> Thus, it may
be suggested that miniature texts with an apotropaic functionality probably contained features such as specific suras from the Qur'an known for their protective attributes, for example, </span><i style="line-height: 150%;">Surat al-Fatiha, </i><span style="line-height: 150%;">the 'Throne Verse' from <i>Surat al-Baqarah</i></span><span style="line-height: 150%;"> and </span><i style="line-height: 150%;">Surat al-Nas </i><span style="line-height: 150%;">a</span><span style="line-height: 150%;">s well as other components often used within amuletic or talismanic materials such as magic squares, the zodiacal signs and the seven seals</span><span style="line-height: 150%;">.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 11pt;"> </span></span></span></span></div>
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<tr><td style="text-align: center;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCttdPnRUUV7aWWYgB6Pxck_oVEK4IuMOWYuAlJNfmf-LwpflFDXggulph38433I21dnKx8B0tS7B-X88NdBd5J3f17mrSZUGk_ttcU4pN4e2QIv4VhX3cmn3_hHSf02wyGqUvdlU4SJpp/s320/190L12220_6CZ9R_detail1.jpg" style="margin-left: auto; margin-right: auto;" width="320" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 6 Detail</span></td></tr>
</tbody></table>
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<span class="MsoFootnoteReference" style="font-family: 'Times New Roman'; line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: 11pt;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhihlYzbe6wHM1xNoAMsxUWXKMw_IcwPuEWQqQrTvL3aMLyZuXKokUPLY2JK32JwsTJ6ZCUvu5ihCBoU9thJA_OP9FOiaTjB3I4gbPHbWwW_1l-me1BO-A6E8zxgVMqlPA66UNFbJvT2U6l/s1600/190L12220_6CZ9R_detail2.jpg" imageanchor="1" style="clear: right; font-size: 11pt; line-height: 150%; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhihlYzbe6wHM1xNoAMsxUWXKMw_IcwPuEWQqQrTvL3aMLyZuXKokUPLY2JK32JwsTJ6ZCUvu5ihCBoU9thJA_OP9FOiaTjB3I4gbPHbWwW_1l-me1BO-A6E8zxgVMqlPA66UNFbJvT2U6l/s320/190L12220_6CZ9R_detail2.jpg" width="214" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 7 Detail</span></td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCttdPnRUUV7aWWYgB6Pxck_oVEK4IuMOWYuAlJNfmf-LwpflFDXggulph38433I21dnKx8B0tS7B-X88NdBd5J3f17mrSZUGk_ttcU4pN4e2QIv4VhX3cmn3_hHSf02wyGqUvdlU4SJpp/s1600/190L12220_6CZ9R_detail1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a></div>
<br />
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<div style="text-align: justify;">
<span style="font-family: inherit;"><span style="line-height: 150%;">In addition to verses from the Qur'an, some amulets also incorporated the names of Allah (as can be seen within the black circles in Figure 6) as
an additional layer of protection because the names of God (and His
attributes), or ‘the Beautiful Names’ are considered to possess the greatest
magical powers.</span><span class="MsoFootnoteReference" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-size: x-small;">[10]</span></span></span><span style="line-height: 150%;"><span style="font-size: x-small;">
</span>The juxtaposition of the names of Allah along with Qur’anic verses on an amulet
can be interpreted as a manner in which to ensure the amulet’s continuous
apotropaic efficacy whilst serving as a supplication, which calls upon God’s
divine protection and mercy. </span></span></div>
</div>
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<span lang="EN-GB" style="font-family: "Times New Roman";"><br /></span>
<span style="font-family: inherit;"><span style="font-family: inherit;">I find the multivalent aspects of the Qur'an to be fascinating. Even though most amulets or talismans may have not been visible to anyone but the bearer, the intersections between Islamic art, religion and science have the capacity to captivate its audience, whether it is via the aesthetic beauty of undulating text enveloped in rich colours and vegetal motifs, or a deeper meaning that may range from </span>devotional piety to an apotropaic purpose.</span></div>
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<span lang="EN-GB" style="font-family: "Times New Roman";"><br /></span>
<span lang="EN-GB" style="font-family: "Times New Roman";"><br /></span></div>
<div>
<!--[if !supportFootnotes]-->~ Shandra<br />
<br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB"><u>Bibliography:</u></span></span></span></span></span><br />
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB">[</span><span lang="EN-GB">1]</span></span></span></span> E.A. Wallis Budge, <i>Amulets and Superstitions the Original Texts with Transl.</i><i>and Descriptions of a Long Series of Egyptian, Sumerian, Assyrian, Hebrew,</i><i>Christian, Gnostic and Muslim Amulets and Talismans and Magical Figures,</i><i>with Chapters on the Evil Eye, the Origin of the Amulet... Etc. </i>London: Oxford Univ. Press, 1930. 33; Figure
1, this is an example of amulet that would be worn for protection against the
evil eye. These amulets are still being created and used in multiple Islamic
regions.</span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[2]</span></span><!--[endif]--></span></span><span lang="EN-GB"> ibid</span>.<o:p></o:p></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[3]</span></span><!--[endif]--></span></span><span lang="EN-GB"> ibid</span>.<o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[4]</span></span><!--[endif]--></span></span><span lang="EN-GB"> </span>B.A.
Donaldson, "The Koran As Magic." <i>The Muslim World </i>27, no. 3 (1937):254-66. doi:10.1111/j.14781913.1937.tb00355.x.254. An example of the Qur’an’s acknowledgement of magic can be seen
in sura 114 (1-6).</span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[5]</span></span><!--[endif]--></span></span><span lang="EN-GB"> T. Canaan in E. Savage-Smith, </span>"The Decipherment of Arabic Talismans." In <i>Magic and Divination in </i><i>Early Islam</i>, edited by Emilie Savage-Smith, 125-78. Vol. 42. The Formation of the Classical Islamic World. Aldershot: Ashgate Publishing Limited, 2004.<span lang="EN-GB">129; V. Porter,</span>Shailendra Bhandare, Robert G. Hoyland, A. H. Morton, and J.Ambers. <i>Arabic and Persian Seals and Amulets in the British Museum</i>.London: British Museum, 2011,<span lang="EN-GB">132. An example of an efficacious sura is the sura al-<i>F</i></span><i><span lang="EN-GB">atiha</span></i></span></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB">[6]</span></span><!--[endif]--></span></span><span lang="EN-GB"> </span>N. Guessoum, "The Qur'An, Science, And The (Related) Contemporary Muslim Discourse." <i>Zygon® </i>43, no. 2 (June 2008): 411-31. doi:10.1111/j.1467-9744.2008.00925.x.412-414; Guessoum’s argument concerning
the approach contemporary scientists should take with Muslims in regard to
their beliefs in the Qur’an, explains a probability of receptivity amongst
Muslims to scientific theory by ‘showing that at lease one intelligent reading
and interpretation of various passages [of the Qur’an] is fully consistent with
the scientific theory,’ 429.</span><br />
<span style="font-family: inherit; font-size: x-small;"><span class="MsoFootnoteReference"><span lang="EN-GB"><span class="MsoFootnoteReference"><span lang="EN-GB">[7]</span></span></span></span><span lang="EN-GB"> H. Coffey 'Between Amulet and Devotion: Islamic Minature Books in the Lilly Library,' </span>In <i>The Islamic Manuscript Tradition</i>, edited by Christiane Gruber, 79-115. Bloomington: Indiana University Press, 2010, 80.</span><br />
<span style="font-family: inherit; font-size: x-small;">[8] For more examples and descriptions of the attributes of Islamic amulets and talismans see E. Savage-Smith, <i>Science, Tools & Magic</i>, The Nour Foundation, 1997.</span><br />
<span style="font-family: inherit; font-size: x-small;">[9] H. Coffey, 89.</span></div>
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<span lang="EN-GB"><span style="font-family: inherit; font-size: x-small;">Sura: http://in-islam.com/fr/sourate-an-nas/<o:p></o:p></span></span></div>
<!--EndFragment--><br />
<span style="font-family: inherit; font-size: x-small;">1: Glass amulet to avert evil eye. Hebron, Israel/Palestine, Asia; PRM 1885.3.4http://www.prm.ox.ac.uk/amulets.html</span><br />
<span style="font-family: inherit; font-size: x-small;">2: Talisman. Chad 20th Century.Digital Image. Georgetown University Libary Special Collections, Georgetown University Library, Washington, D.C.</span><br />
<span style="font-family: inherit; font-size: x-small;">3:http://www.iub.edu/~iuam/online_modules/islamic_book_arts/exhibit/miniature_manuscripts_and_scrolls/img/thumb-large/Adomeit-mss-C6-image-1.jpg</span><br />
<span style="font-family: inherit;"><span style="font-size: x-small;">4:</span><span style="font-size: x-small;">http://www.iub.edu/~iuam/online_modules/islamic_book_arts/exhibit/miniature_manuscripts_and_scrolls/img/thumb-large/Adomeit-mss-C6-image-2.jpg</span></span><br />
<span style="font-family: inherit; font-size: x-small;">5-7: http://www.sothebys.com/en/auctions/ecatalogue/2012/arts-of-the-islamic-world/lot.419.lotnum.html</span><br />
<span style="font-family: inherit; font-size: x-small;"><br /></span>
<span style="font-size: x-small;"><a href="http://www.hypersmash.com">Hyper Smash</a></span><br />
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-75172316669847147592013-08-20T03:34:00.000+01:002013-09-23T03:17:39.833+01:00The Hidden Power of Reliquaries<div style="text-align: justify;">
<span style="font-family: inherit;">For this post I would actually like to discuss why I love studying Insular reliquaries. I’m currently preparing for my first year review so I’ve had a bit of ‘time’ to reflect on what has drawn me to study this topic in particular. Let us begin by examining at Insular crosiers.</span><br />
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<span style="font-family: inherit;">The Kells crosier, currently held by the British Museum, measures 133 cm in length and shows signs of two periods of ornamentation [Figure 1].<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn1">[1]</a> The crosier was purchased in 1850 by Cardinal Wiseman from a solicitor’s auction, having been left behind by its previous owner for reasons unknown.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn2">[2]</a> The crosier bears an inscription on the interior arch of its crook reading, ‘OR DO CONDUILIG OCUS DO MELFINNEN’.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn3">[3]</a> George Pertrie identified the names as belonging to ecclesiastical figures from Kells whereas Márie Mac Dermott and Perette Michelli have suggested the royal heir of Cashel, Cú Duilig.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn4">[4]</a> The crosier is composed of a wooden core of yew wood which has been encased in copper-alloy sheets. These have been secured by nailing the sheets onto the wooden core and which are further secured through a series of three metalwork knops. The decoration of these knops features a series of zoomorphic interlace and knot-work, dating to the ninth or tenth-century.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn5">[5]</a> At one point, the crook of the crosier was broken or cut off, though the wooden was reincorporated into the new crosier head.<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFwX-PCQjKq9zMeanskFvOfBB0e4FZGTyM5_XpqB-d3TMmMWj7ZosaPyS_u-oo_u_0pNs50QzWPql0NVmO0yUmteeeiYDX8eZr32omUm-B8lTWBEDumQUptobw9JR7xtEgdutOK_pM0wkA/s1600/kells.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFwX-PCQjKq9zMeanskFvOfBB0e4FZGTyM5_XpqB-d3TMmMWj7ZosaPyS_u-oo_u_0pNs50QzWPql0NVmO0yUmteeeiYDX8eZr32omUm-B8lTWBEDumQUptobw9JR7xtEgdutOK_pM0wkA/s320/kells.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 1</span></td></tr>
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<br /><br />The crook follows the same principles of construction as the staff, albeit with the use of silver sheets instead of copper-alloy. A silver collar knop, also contemporary to the crook, was fashioned to secure the crook to the staff. A copper-alloy decorative ridge follows the outward curve of the crosier ending in a small drop-box. The metalwork of the crosier was extended past the wooden core and was slopped downward, thus creating a cavity at the terminal of the crook. The copper-alloy frame of this drop-box features a head at its apex while its copper-alloy panel shows signs of a previous lost gem or glass insert. This panel was slid into the frame and then riveted. These drop-boxes appear on other Insular crosier, perhaps indicating that these crosier are not enshrined relics but actually mobile reliquaries. </span> <span style="font-family: inherit;">Whether the practice of enshrined Insular crosiers was initially designed to house relics, to enshrine the staff as a relic, or both is largely undetermined.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn6">[6]</a> In describing the wooden core of the Inishmurry crosier [Figure 2] Cormac Bourke has noted its diameter, measuring only 23mm, indicates that it likely did not function outside of providing a support structure.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn7">[7]</a> Nevertheless, as Karen Overbey has noted in her recent publication, Sacral Geographies, enshrined crosiers performed as relics through incorporating the motifs of Insular enshrinement.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn8">[8]</a> Regardless of whether the inner wooden core was a relic or not, it appeared as such through the application of sumptuous metalwork. The importance of crosiers to Insular art can further be attested through famous crosiers like the Crosier of St Patrick. The Baschal-Isu of St Patrick, supposedly the staff of Christ given to Patrick by a hermit, appears in the Annals of Ireland and is mentioned eighteen times between 784 and 1166.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn9">[9]</a> In A. T. Lucas’ essay on the social role of relics in medieval Ireland he suggested that the propensity of bells, croziers, staffs, and their depiction in Insular art was indicative of an interest in the ‘insignia of the ecclesiastic’ within Insular reliquaries.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn10">[10]</a> Indeed, the powers of such relics ranged from sources of healing to battle talismans, even acting as badges of office and proof of apostolic succession.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn11">[11]</a> In early medieval Ireland, lacking the saints and martyrs of Rome, the ‘early heroes of Irish Christianity were ecclesiastical leaders, in particular abbots and church founders’.<a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn12">[12]</a></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJfeDiseOvMVHbCyj5k2TsV2vfHPlF7JvrEHgmHt4_F-ZFUbFnGmClER9s6sli-wN6g1bS-ZGuJbSVeTTFfnUeWJaK2qV09xzIF10hJUI1xFURRyZoE1YXYtgLI7McW_pv1N_rB_AqrpqN/s1600/crozierBellThumb.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJfeDiseOvMVHbCyj5k2TsV2vfHPlF7JvrEHgmHt4_F-ZFUbFnGmClER9s6sli-wN6g1bS-ZGuJbSVeTTFfnUeWJaK2qV09xzIF10hJUI1xFURRyZoE1YXYtgLI7McW_pv1N_rB_AqrpqN/s320/crozierBellThumb.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 2</span></td></tr>
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<span style="font-family: inherit;"> </span><br />
<span style="font-family: inherit;">Within </span><i style="font-family: inherit;">Sacral Geographies</i><span style="font-family: inherit;"> Overbey describes a scene from the Life of St Mac Creiche. A dragon-like monster is terrorising the local population and despite townspeople’s efforts to stop the beast it takes all of their relics and prayers to simple keep the monster at bay. Finally, St Mac Creiche arrives on the scene with his trusty bell and ‘the dragon-like monster breathed fire at the saint, who then struck his bell once, twice—and ‘at the third stroke, a ball of fire shot from the bell into the monster’s maw, and its maw caught fire.’’</span><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftn13" style="font-family: inherit;">[13]</a><span style="font-family: inherit;"> Not only could relics and their reliquaries be used in power plays and act as performative pieces for the presence of the divine, but within the lives of saints and miracle stories they could also work wonders. This is the key to my interest. While I focus on constructional elements of such reliquaries in my research, the true life blood of my study is the attempt to understand how humanity attempted to understand the invisible, the otherworldly, and the divine. When I look at reliquaries I don’t see the Church, superstition, oppression, or the like.</span><span style="color: red; font-family: inherit;"></span><span style="font-family: inherit;"> I see a belief, a worldview, a snapshot in time crystallised. This is what keeps me coming back to reliquaries, </span>their<span style="font-family: inherit;"> expression of the awesome and wondrous. </span></div>
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<span style="font-family: inherit;"><br />-Samuel</span></div>
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<span style="font-family: inherit;"><br />Images:<br />[1] Kells Crosier, British Museum, M&ME 1859.2-21.1 </span> <span style="font-family: inherit;"></span></div>
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<span style="font-family: inherit;">[2] </span><span style="font-family: inherit;">St. Molaise’s bell and Inishmurray Crosier, held at </span><span style="font-family: inherit;">Alnwick Castle in England (photo: http://www.voicesfromthedawn.com/bring-home-the-inishmurray-relics/)<br /><br /><br />Bibliography: <br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref1">[1]</a> Overbey, Karen Eileen. Sacral Geographies: Saints, Shrines and Territory in Medieval Ireland. Turnhout: Brepols, 2012: 154-60.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref2">[2]</a> Mac Dermott, Máire. "The Kells Crozier." Archaeologia 96 (1955): 59.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref3">[3]</a> ‘A prayer for Cú Duilig and for Máel Finnén’, translation by Mac Dermott, Máire. "The Kells Crozier." Archaeologia 96 (1955): 104.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref4">[4]</a> Bourke has further noted that the inscription is too worn and incomplete to be used to ascribe a date to the crosier, Bourke, Cormac. "A Crozier and Bell from Inishmurray and Their Place in Ninth-Century Irish Archaeology." Proceedings of the Royal Irish Academy 85C (1985): 160-1; Petrie, George, and Margaret Stokes. Christian Inscriptions in the Irish Language. Vol. 2. Dublin: Royal Historical and Archaeological Association, 1872: 116-7<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref5">[5]</a> Bourke, Cormac. "A Crozier and Bell from Inishmurray and Their Place in Ninth-Century Irish Archaeology." Proceedings of the Royal Irish Academy 85C (1985): 161<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref6">[6]</a> Bourke, Cormac. "A Crozier and Bell from Inishmurray and Their Place in Ninth-Century Irish Archaeology." Proceedings of the Royal Irish Academy 85C (1985): 150; Murray, Griffin. "Insular-type Crosiers: Their Construction and Characteristics." Making and Meaning in Insular Art: Proceedings of the Fifth International Conference on Insular Art Held at Trinity College Dublin, 25-28 August 2005. Ed. Rachel Moss. Dublin: Four Courts, 2007: 91-2; Overbey, Karen Eileen. Sacral Geographies: Saints, Shrines and Territory in Medieval Ireland. Turnhout: Brepols, 2012: 154-66.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref7">[7]</a> Bourke, Cormac. "A Crozier and Bell from Inishmurray and Their Place in Ninth-Century Irish Archaeology." Proceedings of the Royal Irish Academy 85C (1985): 150.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref8">[8]</a> Overbey, Karen Eileen. Sacral Geographies: Saints, Shrines and Territory in Medieval Ireland. Turnhout: Brepols, 2012: 163-6.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref9">[9]</a> Crawford, Henry. "A Descriptive List of Irish Shrines and Reliquaries. Part II’." The Journal of the Royal Society of Antiquaries of Ireland 13 (1923): 164.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref10">[10]</a> Lucas, A. T. "The Social Role of Relics and Reliquaries in Ancient Ireland." The Journal of the Royal Society of Antiquaries of Ireland 116 (1986): 8; <br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref11">[11]</a> Clarke, D. V., Alice E. Blackwell, and Martin Goldberg. Early Medieval Scotland: Individuals, Communities and Ideas. Edinburgh: National Museums Scotland, 2012: 30-49;; Overbey, Karen Eileen. Sacral Geographies: Saints, Shrines and Territory in Medieval Ireland. Turnhout: Brepols, 2012: 172-82; Hahn, Cynthia J. Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400-circa 1204. University Park: Pennsylvania State UP, 2012; Lucas, A. T. "The Social Role of Relics and Reliquaries in Ancient Ireland." The Journal of the Royal Society of Antiquaries of Ireland 116 (1986): 13-4.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref12">[12]</a> Overbey, Karen Eileen. Sacral Geographies: Saints, Shrines and Territory in Medieval Ireland. Turnhout: Brepols, 2012: 1.<br /><a href="http://www.blogger.com/blogger.g?blogID=5078577775807134423#_ftnref13">13]</a> Overbey, Karen Eileen. Sacral Geographies: Saints, Shrines and Territory in Medieval Ireland. Turnhout: Brepols, 2012: 115; Plummer, Charles. Miscellanea Hagiographica Hibernica; Vitae Adhuc Ineditae Sanctorum MacCreiche, Naile, Cranat,. Bruxelles: Société Des Bollandistes, 1925: 76-81.</span> <br />
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Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-65067573529083712202013-08-12T13:19:00.000+01:002013-08-12T13:19:49.448+01:00Love like a Hare: Monuments and Masculinity in Medieval North Wales<div style="text-align: justify;">
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">For my PhD
thesis I am examining the archaeological and historical evidence for the parks,
gardens and designed landscapes of North Wales and North West Shropshire, which
were created and used during the medieval period. I am also attempting to find
evidence for the variety of people who created, administered and trespassed in
these spaces. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">There are a
variety of written sources available for the period, including court rolls,
chronicles and charters. In the main, these have already been examined (Barrell
et al undated, Cavell 2007, Jack 1968, Jack 1969, Korngiebel 2007) and a
theoretical picture of life has been established through these documents. These
were largely created and curated by the English Government, who ruled
fourteenth century post-conquest Wales through a network of Lordships and
Shires. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">These
sources however, tell only one side of the story, and there are other sources
available to colour the life of the Welsh inhabitants of this world. After the
Edwardian Conquest of Wales in 1283, the Princes of Gwynedd and Powys had been
replaced at the very top of Welsh society by the <i style="mso-bidi-font-style: normal;">Uchelwyr</i> (literally 'High-Born Men'). These men, and their descents,
came to dominate native Welsh life until the seventeenth century. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">The first
generations of the <i style="mso-bidi-font-style: normal;">Uchelwyr</i> left a legacy
of their <i style="mso-bidi-font-style: normal;">largesse</i> and, using the poetry
and monumental grave slabs that they commissioned, it is possible to gain some
idea of them and their perceptions of themselves in celebration of life and in
commemoration of death. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">A new genre
of poetry flourished in the fourteenth century in Wales. With the loss of Princely
patrons and a secure place as part of their retinue, the poet became a
peripatetic figure, travelling from individual <i style="mso-bidi-font-style: normal;">Uchelwr</i> to individual <i style="mso-bidi-font-style: normal;">Uchelwr</i>.
The result is a newer, fresher approach to writing and the emergence of new
themes within the poetry (Johnston 2005).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Perhaps the
finest exponent of this poetry was Dafydd ap Gwilym (c.1315/1320 - c.1350/1370),
recognised as one of the finest writers in Europe in the fourteenth century.
His poetry has been edited and placed online in 2007 (http://www.dafyddapgwilym.net
). </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">One of the
poems is entitled <i style="mso-bidi-font-style: normal;">Serch fel Ysgyfarnog</i>
'Love like a Hare'. Within the poem the pursuit of a hare during the hunt is
compared to the pursuit of a woman in the tradition of courtly love. This poem,
or at least the dual symbolism within it, appears to have been articulated with
a series of grave slabs dating to the same period. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Five grave
slabs, dated stylistically to the fourteenth century have survived with images
of the hunt on them. The slabs are in St. Asaph Cathedral (Flintshire);
Llanyblodwel church (Shropshire); Valley Crusis Abbey and the churches of
Llanbedr Dyffryn Clwyd and Ysbyty Ifan (Denbighshire). They cover a wide
geographical area, ranging from Ysbyty Ifan on the fringes of Snowdonia in the west
to Llanyblodwel and the lowlands of England in the east.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJaEi1Dm0O6_vA_aU_EqLW23L_-_r0VmNEra1oS78YRbAIIqxSEn67qsbQBVYiGeoerUAbdIu4eIJrOGzYY3eaCh3w1u-t4lFV7drCrfGYc_9SsB8jvyttqfqMBQnhTkpZZkuvr6uLIWt6/s1600/St.Asaph+001.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJaEi1Dm0O6_vA_aU_EqLW23L_-_r0VmNEra1oS78YRbAIIqxSEn67qsbQBVYiGeoerUAbdIu4eIJrOGzYY3eaCh3w1u-t4lFV7drCrfGYc_9SsB8jvyttqfqMBQnhTkpZZkuvr6uLIWt6/s640/St.Asaph+001.JPG" height="640" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;"><span style="font-family: inherit;">The Grave Slab from St. Asaph Cathedral, depicting a hound pursing a
hare</span></span></td></tr>
</tbody></table>
<span style="font-family: inherit;">Two themes
are represented by the imagery on the slabs. The examples from Valle Crusis and
Llanbedr Dyffryn Clwyd depict a hunter and his horn; whilst the other three
examples depict variations of a hound pursuing a hare. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Until I
began my research, there had not been any study of the place of these grave
slabs in their wider landscape context. One issue is the relocation of these
grave slabs. The example from Llanfair Dyffryn Clwyd is now to be found,
weathered and damaged in the porch of the new church, constructed in the
nineteenth century to replace its medieval predecessor.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">This medieval church was 1km to the north west, and it is the siting of this church
and the monument within it which is significant. Situated on the south side of Dyffryn
Clwyd (the Vale of Clwyd), this land had formerly been in the possession of
Welsh Prince Dafydd ap Gruffudd, a man known, from letters petitioning King
Edward I, to have had a love of the hunt (Pryce with Insley 2005: 646-647).
Dafydd lost these lands when he rebelled against the King in 1282, and was
captured and killed the following year.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">The
fourteenth century saw an expansion of the parkland in Dyffryn Clwyd and the
neighbouring lordship of Denbighshire, with Welsh tenants removed from their
former lands by new English Lords to allow for these events (Berry 1994). It
would appear that the <i style="mso-bidi-font-style: normal;">Uchelwr</i> buried
in Llanfair Dyffryn Clwyd - his name does not survive on the slab - chose to be
buried overlooking a hunting ground which had been used by his Welsh
forbearers, as well as by himself under a new imposed Lord and Lordship. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Further
research will identify the relationship between the other <i style="mso-bidi-font-style: normal;">Uchelwyr</i> buried under the grave slabs and their own particular
landscape context. In conjunction with the other evidence recovered
archaeologically and which is illustrated within some of poetry</span><span style="font-family: inherit;">, it will enable
an understanding of how these men lived in a world transformed in their
lifetime.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
Contributed by: Spencer Gavin Smith<br />
_________________________</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Bibliography:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Barrell, A.
D. M., Brown, M. H. and Padel, O. J. (undated) Dyffryn Clwyd Court Roll
Database, 1294 – 1422, UK Data Archive, Economic and Social Research Council</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Berry, A. Q. (1994) The Parks and Forests
of the Lordship of Dyffryn Clwyd, <i style="mso-bidi-font-style: normal;">Denbighshire
Historical Society Transactions</i>, <b style="mso-bidi-font-weight: normal;">43</b>,
7-25</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Cavell, E. (2007)
Aristocratic Widows and the Medieval Welsh Frontier: The Shropshire Evidence, <i style="mso-bidi-font-style: normal;">Transactions of the Royal Historical Society</i>
<b style="mso-bidi-font-weight: normal;">17</b>, 57-82</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Dafydd ap
Gwilym (2007) [online] available from: http://www.dafyddapgwilym.net</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Jack, R. I.
(1968) Records of Denbighshire Lordships, II, the lordship of Dyffryn Clwyd in
1324, <i style="mso-bidi-font-style: normal;">Denbighshire Historical Society
Transactions</i> <b style="mso-bidi-font-weight: normal;">17</b>, 13-18</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Jack, R. I.
(1969) Welsh and English in the medieval lordship of Ruthin, <i style="mso-bidi-font-style: normal;">Denbighshire Historical Society Transactions</i>
<b style="mso-bidi-font-weight: normal;">18</b>, 23-49</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Johnston,
D. (2005) <i style="mso-bidi-font-style: normal;">Llen Yr Uchelwyr: Hanes
Beirniadol Llenyddiaeth Gymraeg 1300-1525</i>, University of Wales Press,
Cardiff</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Korngiebel,
D. M. (2007) English Colonial Ethnic Discrimination in the Lordship of Dyffryn
Clwyd: Segregation and Integration, 1282-c.1340, <i style="mso-bidi-font-style: normal;">The Welsh History Review</i> <b style="mso-bidi-font-weight: normal;">23</b>,
1-24</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: inherit;">Pryce, H.
with Insley, C. (2005) <i style="mso-bidi-font-style: normal;">The Acts of Welsh
Rulers</i>, University of Wales Press, Cardiff</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com3tag:blogger.com,1999:blog-5078577775807134423.post-5339965784119874042013-08-08T00:13:00.001+01:002013-08-08T00:13:35.183+01:00Beyond Borders welcomes Spencer Gavin Smith<div style="text-align: justify;">
<span style="font-family: Verdana;"><span style="font-size: 12px;"></span></span></div>
<div style="margin: 0px; padding: 0px;">
<div style="text-align: justify;">
<span style="font-family: inherit; font-size: small;">Spencer
Gavin Smith is an archaeologist with the Gwynedd Archaeological Trust,
based in Bangor, North Wales. He is a former Investigator with the Royal
Commission on the Ancient and Historical Monuments of Wales and was the
researcher and archaeologist for the BAFTA Wales nominated 'Tywysogion'
(Princes) - a seven hour Welsh Language television series on the
history and archaeology of the medieval princes of Wales.</span><span style="font-family: inherit; font-size: small;"><br /></span><br />
<span style="font-family: inherit; font-size: small;">He
is currently writing his PhD on the topic of 'Parks, Gardens and
Designed Landscapes of Medieval North Wales and North West Shropshire'
at Manchester Metropolitan University. </span><span style="font-family: inherit; font-size: small;">Spencer also blogs about his research at: </span><br />
<br />
<a href="http://medievalparksgardensanddesignedlandscapes.wordpress.com/" style="font-family: inherit;" target="_blank">http://<wbr></wbr>medievalparksgardensanddesigne<wbr></wbr>dlandscapes.wordpress.com/</a>.<br />
<br />
His <span style="font-family: inherit;">PhD crowdfunding page is at: </span><a href="http://www.gofundme.com/medievalgardensandparks" style="font-family: inherit;" target="_blank">http://www.gofundme.com/<wbr></wbr>medievalgardensandparks</a><br />
<span style="font-family: inherit;"><br /></span><span style="font-family: inherit; font-size: small;"><span style="font-size: small;"><span lang="EN-US" style="color: #111111;">We look forward to hosting Spencer's post on </span></span></span>14th century Welsh graveslabs and contemporary Welsh poetry <span lang="EN-US" style="color: #111111;">o</span><span style="font-size: small;"><span lang="EN-US" style="color: #111111;">n Monday August 12th! </span></span></div>
</div>
<div style="margin: 0px; padding: 0px;">
<span style="font-family: inherit; font-size: small;"></span></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-33869489212264507572013-08-05T11:19:00.000+01:002013-08-05T11:19:09.986+01:00The Battle of Dorylaeum<div style="text-align: justify;">
<span style="font-family: inherit; font-size: 16px;">After their first victory at Nicaea, the crusading armies prepared for the tedious march south, deeper into the heart of Asia Minor. Even though the emperor Alexius would no longer direct them as closely as he had, he did send a contingent of Byzantine warriors, under the command of Tatikios, to accompany the crusaders. Whether the Franks liked it or not -- many distrusted and even disliked the Byzantines -- they needed the support of those warriors because they knew the land well: which passes to travel and which ones to avoid. Since the Byzantine guides spent most, or all, of their military careers fighting the Seljuk Turks, they undoubtedly reminded the crusaders of their emperor's advice on numerous occasions.</span></div>
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<span lang="EN-US" style="font-family: inherit; font-size: 12pt;">The first strategy the
leading war lords (otherwise known as princes) had to figure out was how they were
going to feed an army of about 70,000 people, which also included women and
other non-combatant pilgrims. The territory south of Nicaea had been
extensively plundered by the Turks, so those lands would not produce enough
food to feed such a large army. Also, because Kilij Arslan posed a great
threat, they could not divide the army up into several small contingents. So,
the princes decided to divide the army in half: The first contingent was made up
of Norman warriors from southern Italy and northern France and commanded by
Bohemond, Tancred, Robert of Normandy and Stephen of Blois; the second
contingent was composed of warriors from southern France and the Lorraine and
commanded by Raymond of Toulouse, Godfrey of Bouillon, Robert of Flanders and
Hugh of Vermandois -- brother of the French king. The first half of the army
departed Nicaea.</span></div>
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<span lang="EN-US" style="font-family: inherit; font-size: 12pt;">Meanwhile, Kilij Arslan
retreated back east, made peace with the Danishmend Emir and secured an
alliance with the goal to repel this new and foreign formidable foe. He then
marched westward with his own army and that of the Danishmend Emir to Dorylaeum
where they lay in wait for the crusaders.</span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdXfSXDmdZ9uYvs8EJcwslvm5MEcQMqhtUODV6zNH9MWzhDbqqVI8W0_2s-a3iyKQBKGqIjwVuj3yiKsci9lIVTsoHDKGhigTH68hzIHShKCabd0xg6zgrtnJl-D_GN5xD9OwH-BQ5LVi-/s1600/35BattleofDorylaeum1097A_D_.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdXfSXDmdZ9uYvs8EJcwslvm5MEcQMqhtUODV6zNH9MWzhDbqqVI8W0_2s-a3iyKQBKGqIjwVuj3yiKsci9lIVTsoHDKGhigTH68hzIHShKCabd0xg6zgrtnJl-D_GN5xD9OwH-BQ5LVi-/s320/35BattleofDorylaeum1097A_D_.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 1</span></td></tr>
</tbody></table>
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<span style="font-family: inherit; font-size: 16px;">As the first contingent of the crusader army entered Dorylaeum, the sun began to set, signaling the end of the day. Exhausted, the four princes commanded their troops to set up camp, not realizing that Kilij Arslan was hiding quietly in the thickly wooded hills with his army.</span></div>
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<span style="font-size: 12pt;">At the crack of dawn, the
Turks poured down the mountainside, into the valley below where the Franks were
camped. Kilij Arslan was thrilled he had caught the Franks off guard and was
ready for the kill. Or so it seemed. The crusaders, though, were not caught off
guard. They heard their war cries in the distance and saw them advancing.</span></span></div>
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<span lang="EN-US" style="font-size: 12pt;">According to the <i style="mso-bidi-font-style: normal;">Gesta</i> Account, '</span><span lang="EN-US" style="font-size: 12pt;">The wise
man, Bohemund, seeing innumerable Turks whistling and shouting from afar with
demoniacal voices, straightway ordered all the knights to dismount and quickly
pitch their tents. Before the tents had been pitched, he spoke again to all the knights:
"Seignors and bravest knights of Christ, behold the battle is now close
about us on all sides. Therefore, let all the knights advance manfully against
the enemy, and let the foot-soldiers spread the tents
carefully and very quickly."'</span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US" style="font-size: 12pt;">Hastily, the princes and
their troops put on their armor, then engaged the Turks in battle. As custom,
the Turkish archers raced ahead of the main army and discharged arrows at the
enemy. Fortunately for the crusaders, because their armor was heavier and
sturdier, it managed to deflect the arrow heads. However, they were not
prepared for the onslaught that quickly followed and before midday, they were
surrounded on all sides. "We were all huddled together, indeed, like sheep
shut in a pen, trembling and frightened, surrounded on all sides by enemies, so
that we were unable to </span><span lang="EN-US" style="font-size: 12pt;">advance </span><span lang="EN-US" style="font-size: 12pt;">in any
direction," Fulcher of Chartres recalled.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjuUdOapoytiodWMAYVDsdzHl2p5H3D0Z7rJdh5dJ-CeR-1Qry36b5QBuswEhZWk27i13OEuRBeDk46QGjEbbFladMEShv2CYew-RnAfCmzVXy4qeyMIsibTJpNSs_BQTUTlo-0bngdVr/s1600/BNF,_Mss_fr_68,_folio_38.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRjuUdOapoytiodWMAYVDsdzHl2p5H3D0Z7rJdh5dJ-CeR-1Qry36b5QBuswEhZWk27i13OEuRBeDk46QGjEbbFladMEShv2CYew-RnAfCmzVXy4qeyMIsibTJpNSs_BQTUTlo-0bngdVr/s320/BNF,_Mss_fr_68,_folio_38.jpg" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: white;">Figure 2</span></td></tr>
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<span style="font-family: inherit; font-size: 12pt;">Just when a crushing defeat
seemed imminent, Godfrey, Raymond, Robert and Hugh arrived in the valley with
their army and attacked the Turks, breaking through their rearguard. The Turks,
exhausted from the fierce fighting, frightened and now surrounded on all sides
by the Franks, scattered and retreated to the east, leaving their camp
abandoned where the Sultan and Emir's tents stood intact.</span></div>
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<span lang="EN-US" style="font-family: inherit; font-size: 12pt;">Even though the crusaders
suffered heavy losses -- among the fallen was Tancred's brother, William -- the
battle of Dorylaeum was a significant victory for them. They gained immense
treasure -- gold and jewels -- from the Sultan and Emir's tents, but more
importantly to them, the victory opened up Asia Minor, allowing for safe
passage. Yet, the ferocity of the battle taught the Franks to respect the
Turks' might as warriors. Many Franks even admired the Turks for their military
prowess. In any case, the battle of Dorylaeum forced them to further enhance
their strategy. In order to accomplish that, they needed to be well equipped
and fed. But since the crusaders were exhausted, they decided to stay in
Dorylaeum for a few days to rest up before preparing for their next journey.</span></div>
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<span lang="EN-US" style="font-family: inherit; font-size: 12pt;">-Contributed by Deanna Proach </span></div>
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____________________</div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: inherit; line-height: 115%;">Bibliography:</span></b></div>
<span style="font-family: inherit;">Asbridge, Thomas. </span><i style="font-family: inherit;">The Crusades: The Authoritative
History of The War For The Holy Land</i><span style="font-family: inherit;">. Ecco; New York, 2011.</span><br />
<span style="font-family: inherit;">Hindley, Geoffrey. </span><i style="font-family: inherit;">A Brief History of The Crusades</i><span style="font-family: inherit;">.
Constable & Robinson, Ltd; London, 2003.</span><br />
<span style="font-family: inherit;">Krey, August C. </span><i style="font-family: inherit;">The First Crusade: The Accounts of
Eye-Witnesss and Participants</i><span style="font-family: inherit;">. Princeton; Princeton University Press,
1921.</span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: inherit; line-height: 115%;"><br /></span></b>
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: inherit; line-height: 115%;">Images:</span></b></div>
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<span lang="EN-US" style="font-family: inherit; line-height: 115%;">Fig. 1: La bataille de Dorylée (Histoire
d'Outremer, XIVe siècle, BN MS Fr. 352 f. 49)</span></div>
<span style="font-family: inherit; line-height: 115%;">Fig. 2: Guillaume de Tyr, </span><i style="font-family: inherit; line-height: 115%;">Historia</i><span style="font-family: inherit; line-height: 115%;">
et continuation (BNF Richelieu Manuscrits Français 68, folio 38) (William of
Tyre, </span><i style="font-family: inherit; line-height: 115%;">Historia</i><span style="font-family: inherit; line-height: 115%;"> and continuation (BNF Richelieu French manuscripts 68,
folio 38).</span>Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com1tag:blogger.com,1999:blog-5078577775807134423.post-57973987171733397992013-07-31T11:53:00.001+01:002013-07-31T11:55:41.321+01:00Beyond Borders welcomes Deanna Proach<!--[if gte mso 9]><xml>
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<span style="font-size: small;"><span style="font-family: inherit;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #111111;">Deanna Proach
graduated with a Bachelor of Arts in History from the University of Northern
British Columbia in 2008. Since then she has written a historical fiction set
in revolutionary France, titled <i><span style="mso-bidi-font-style: italic;">Day
of Revenge</span></i>. <span style="mso-bidi-font-style: italic;"><i> </i></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: inherit;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #111111;"><span style="mso-bidi-font-style: italic;"><i>Day of Revenge</i>
</span>was self-published through Inkwater Press, but Proach plans to do
many revisions on this project as well as write another historical in the
coming years. Her love for History is manifested in the form of a blog:</span></span><span lang="EN-US"><a href="http://www.crusadesandcrusaders.com/"><span style="mso-bidi-font-style: normal;"><span style="color: black;">www.crusadesandcrusaders.com</span></span></a></span><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #111111;">. </span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: inherit;"><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #111111;">We look forward to hosting Deanna's post on the </span></span><span style="mso-bidi-font-style: normal;"><span lang="EN-US" style="color: #111111;">Battle of Dorylaeum on Monday August 5th! </span></span></span></span></div>
Anonymoushttp://www.blogger.com/profile/15428012155298530804noreply@blogger.com0tag:blogger.com,1999:blog-5078577775807134423.post-87938832426471097702013-07-30T02:21:00.000+01:002013-09-23T03:19:52.254+01:00Images of games, images of harmony?<!--[if gte mso 9]><xml>
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<span style="font-family: inherit;">In the study of medieval Spain the term of the <i>convivencia</i>
is well known. However, the harmonious image that has often been associated
with it has been frequently challenged. The illusion of a peaceful and tolerant
coexistence has been dispelled by studies that uncovered episodes of
intolerance and violence. One document that has sometimes been used to
illustrate the harmony between Muslims, Jews and Christians is the <i>libro de
los juegos</i> or <i>libro del ajedrez, dados y tablas</i>. This manuscript,
created in Seville in 1283, primarily contains texts on chess, but also on dice
and tables. Its illuminations show a wide array of figures, Kings and peasant,
men and women, but also representations of Christians, Jews and Muslims. It is
not hard to fathom why such imagery of figures of different religions being
involved in games of intellect and chance could be used to illustrate their
harmonious lives along side each other. Yet, a closer look reveals that this
manuscript by no means lacks political and ideological meaning. <o:p></o:p></span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;"><br /></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyMRLNuYXmDpe3CFWGu20a2OLHzn2CHvQkeD6zUY6KwyvRMicA3WLNeBaOaxpmWI3HmUPWRBw6wHlOvjn-5eq83-1Ej8WhvWDHgWEFQ6BhMWSbEG1VLqvh7t9TXHYQR0XZF5HuNM_UXbXH/s1600/ajedrez.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyMRLNuYXmDpe3CFWGu20a2OLHzn2CHvQkeD6zUY6KwyvRMicA3WLNeBaOaxpmWI3HmUPWRBw6wHlOvjn-5eq83-1Ej8WhvWDHgWEFQ6BhMWSbEG1VLqvh7t9TXHYQR0XZF5HuNM_UXbXH/s320/ajedrez.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: white;">Figure 1</span><br />
<div>
<br /></div>
</td></tr>
</tbody></table>
</div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">On fol. 22r the viewer can witness a chess game
between two Muslims. The two men playing, are depicted as barefoot, with
elegant clothing and turbans, apparently Muslims of higher prestige. While they
are engaged in the game, they are surrounded by three women, who serve the
players food and drinks, and entertain them with harp music. However subtle,
some aspects in </span><span style="font-family: inherit;">the image seem to disagree with a tolerant scene of a
leisurely court scene.</span></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: justify;">
<span style="font-family: inherit;">One of the women appears to cast her gaze upon the
player of the right, whose eye do not seem to rest on the game, but rather on
her body, whose shape is slightly revealed by her light garment.<span style="font-size: xx-small;">[1]</span> Though we
might just consider this an amusing detail, it can also be understood less
humourous. The implied notions of seduction and sexuality depicts the Muslim
woman in a negative light for the contemporary audience and thereby puts her
characterisation in a longer tradition of the non-Christian <i>Other</i> as
lustful.<o:p></o:p></span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtDSCKs20XwvBG-6OWVBjVr4MD7wTo0T_-WcsIjrRDFFS8TEi55ECunwwBq68QvBfkien17qTY1-sv5HT-sN8jhGnBEh0WARxkQhgk3z5P6Dy9aAlNIevd3oBKwoNksWFAFsKYabx3jC3A/s1600/Libro-de-Ajedrez-dados-y-tablas.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtDSCKs20XwvBG-6OWVBjVr4MD7wTo0T_-WcsIjrRDFFS8TEi55ECunwwBq68QvBfkien17qTY1-sv5HT-sN8jhGnBEh0WARxkQhgk3z5P6Dy9aAlNIevd3oBKwoNksWFAFsKYabx3jC3A/s320/Libro-de-Ajedrez-dados-y-tablas.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: white;">Figure 2</span><br />
<div>
<span style="color: white;"><br /></span></div>
</td></tr>
</tbody></table>
<span style="font-family: inherit;">The male participant of this little flirtation seems
to be the object of further ridicule. He is shown as being distracted by his
physical desires, thereby questioning his intellectual capacities as well as
his abilities in warfare seeing as the former was understood as a metaphor for
the later. Finally the position of the image within the manuscript itself seems
to be of significance. It is located right opposite of a Western court scene. A
position that suggests a comparison between the two courtly scenes. Even though
the Muslims appear richly dressed, they pale in comparison to the splendour of
their Western equivalent, making these pairs of images a highly ideological
argument for the superiority of Christian culture.<span style="font-size: xx-small;"> [2]</span></span></div>
</div>
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<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<div style="text-align: justify;">
<span style="font-family: inherit;">An image of a game of dice between a Jew and a
Christian shows similar visual policies. It has to be noted, that the
manuscript only shows Jews winning a game of dice, but never of chess. This
fact alone might be understood as slightly debasing, considering the manuscript
tells its audience that chess is the superior game.<span style="font-size: xx-small;"> [3]</span><o:p></o:p></span></div>
</div>
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<div style="text-align: justify;">
<br /></div>
</div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<div style="text-align: justify;">
<span style="font-family: inherit;">The scene on fol. 71V shows such a game of dice
between a Christian and a Jew, both players accompanied by an entourage of
three. The scene shows the Christian player, who just lost, stretching out his
hand with an insulting gesture towards his victorious opponent, while the winner
seems to point out his victory with his left hand.<o:p></o:p></span></div>
</div>
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<div style="text-align: justify;">
<br /></div>
</div>
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<div style="text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1pBIN4y7u0gfJNwyRZpriWSQyzkVvVhgNjXfS59x1l6TNvNPSUgdSWmoBRxAq_cGY9vFkxXSLrQ7Q5ecmb0FlAl-pv_ZlaNCNNxRWU107p7orxxD-l5_7d74KiSYlvMb5WMivUWLdjAb/s1600/DSCN1317.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ1pBIN4y7u0gfJNwyRZpriWSQyzkVvVhgNjXfS59x1l6TNvNPSUgdSWmoBRxAq_cGY9vFkxXSLrQ7Q5ecmb0FlAl-pv_ZlaNCNNxRWU107p7orxxD-l5_7d74KiSYlvMb5WMivUWLdjAb/s320/DSCN1317.JPG" width="276" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; text-align: center;"><span style="color: white;">Figure 3</span></td></tr>
</tbody></table>
<span style="font-family: inherit;">Remarkable in this scene is how each group is
characterised.<span style="font-size: xx-small;">[4] </span>The Christian attendants seem to parallel the forward
leaning body movement of the Christian player, suggesting their support and
visually emphasising the unity of their group. The companions of the Jewish
player, however, seem less involved. One is hardly visible or involved, two of
them seem to secretly whisper to each other, appearing to discuss the outcome
of the game. This opposition of formal, unified Christians and chaotic Jewish
bodies also appears at other places in the manuscript, suggesting that these
compositions are signifying qualities of the represented groups.<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<div style="text-align: justify;">
<br /></div>
</div>
<div style="text-align: justify;">
<span style="font-family: inherit;">Even though there are more examples are possible,
these two should have given a glimpse of the visual strategies used in the
imagery. It does depict Christians along side Jews and Muslims, playing games,
communicating a co-existence. However, it is by no means a token of tolerance
and acceptance. The superiority of Christians is interwoven into the imagery
throughout the manuscript. Thereby frequently affirming its Christian audience
of their place in the world of these chaotic times. It seems that the notion of
</span><i style="font-family: inherit;">convivencia </i><span style="font-family: inherit;">is not so much an illustrated medieval reality, but
rather a concept born from the desires of the modern world with regards to its
own past.</span></div>
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<div style="text-align: justify;">
<br /></div>
</div>
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<span style="font-family: inherit;">
-Fabian<o:p></o:p></span></div>
</div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">__________<o:p></o:p></span></div>
</div>
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<span style="font-family: inherit;">1 Constable, Olivia Remie, 'Chess and Courtly
Culture in Medieval Castile: The Libro de ajedrez of Alfonso X, el
Sabio', in: <i>Speculum</i> 82.2 (2007), 331-332.<o:p></o:p></span></div>
</div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none; text-justify: inter-ideograph;">
<div style="text-align: justify;">
<span style="font-family: inherit;">2 Robinson, Cynthia, 'Preliminary considerations
on the illustrations of Qissat Bayād wa Riyād [Vat. Ar. Ris. 368]: checkmate
with Alfonso X?', in <i>Al-Andalus und Europa: zwischen Orient und
Okzident</i>, ed. Martina Meller-Wiener (Petersberg: Imhof, 2004), 290.<o:p></o:p></span></div>
</div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">3 Adams, Jenny, <i>Power play: the
literature and politics of chess in the Late Middle Ages</i> (Philadelphia:
University of Pennsylvania Press, 2006), 55-56.<o:p></o:p></span></div>
</div>
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<span style="font-family: inherit;">4 See Robinson 2004, 290 for further observations
on the visual distinction between the two groups.<o:p></o:p></span></div>
</div>
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<br /></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;"><b>Images: </b><o:p></o:p></span></div>
</div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">1 fol. 22r,<i> Libro del ajedrez, dados y tablas, </i>Manuscript
T.I.6. Biblioteca Real del Monasterio de El Escorial. <o:p></o:p></span></div>
</div>
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<span style="font-family: inherit;">2 view on fol. 21v and 22r,<i> Libro del ajedrez,
dados y tablas, </i>Manuscript T.I.6. Biblioteca Real del Monasterio de El
Escorial.</span><br />
<span style="font-family: inherit;">3 fol. 71v,</span><i style="font-family: inherit;"> Libro del ajedrez, dados y tablas, </i><span style="font-family: inherit;">Manuscript
T.I.6. Biblioteca Real del Monasterio de El Escorial.</span></div>
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