The Medieval Iberian Treasury In The Context Of Cultural Interchange Expanded Edition
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The Medieval Iberian Treasury in the Context of Cultural Interchange (Expanded Edition)
The Medieval Iberian Treasury in the Context of Cultural Interchange—expanded beyond the special issue of Medieval Encounters from which it was drawn—centers on the magnificent treasury of San Isidoro de León to address wider questions about the meanings of cross-cultural luxury goods in royal-ecclesiastical settings during the central Middle Ages. Now fully open access and with an updated introduction to ongoing research, an additional chapter, composite bibliographies, and indices, this multidisciplinary volume opens fresh ways into the investigation of medieval objects and textiles through historical, art historical, and technical analyses. Carbon-14 dating, iconography, and social history are among the methods applied to material and textual evidence, together shining new light on the display of rulership in medieval Iberia. Contributors are Ana Cabrera Lafuente, María Judith Feliciano, Julie A. Harris, Jitske Jasperse, Therese Martin, Pamela A. Patton, Ana Rodríguez, and Nancy L. Wicker.
The Medieval Mediterranean between Islam and Christianity
Author: Sami Luigi De Giosa
language: en
Publisher: American University in Cairo Press
Release Date: 2025-05-13
Christian–Islamic encounters through religious arts, architecture, and material culture in the medieval era The coexistence of Christianity and Islam in the medieval Mediterranean led to an interchange of knowledge in architecture and material culture that went well beyond religious and geographical boundaries. The use of Islamic objects in Christian contexts, the conversion of churches into mosques, and the mobility of craftsmen are only some manifestations of this process. From crosses found in mosques to European-Christian coins with pseudo-shahada inscriptions, medieval material culture is rich with visual evidence of the two faiths intermingling in both individual objects and monuments. In this volume, thirteen international scholars explore various aspects of pan-Mediterranean Christian-Islamic encounters in material culture and art, from textiles to precious oils, and from metalwork to ceramics, covering most of the Mediterranean, as well as parts of its extended hinterland, from Spain and Italy to Egypt and Georgia. Within this frame, one of the most relevant, yet underexplored lines of investigation is that of the “aesthetic space,” the notion that aesthetic pleasure transcends boundaries, paving the way to a cross-religious experience and appreciation. “Indeed, God is beautiful, and He loves beauty,” as mentioned in a Hadith narration, a universal cry of visual beauty that resonates with all cultures and civilizations. Contributors: Paschalis Androudis Aristotle University of Thessaloniki, Thessaloniki, Greece Faruk Bilici Inalco, Paris, France Maria Bormpoudaki Hellenic Ministry of Culture and Sports, Piraeus, Greece Sami Luigi De Giosa University of Sharjah, Sharjah, United Arab Emirates Hélène Fragaki University of Augsburg, Augsburg, Germany Hani Hamza Independent scholar, Cairo, Egypt Ana Cabrera Lafuente Instituto de Turismo de España (Turespaña/Tourspain), Madrid, Spain Alison Ohta Royal Asiatic Society of Great Britain and Ireland, London, United Kingdom Richard Piran McClary University of York, York, United Kingdom Nino Simonishvili Ivane Javakhishvili Tbilisi State University, Tbilisi, Georgia Nikolaos Vryzidis Aristotle University of Thessaloniki, Thessaloniki, Greece Arielle Winnik Yale University Art Gallery, New Haven, United States
Deconstructing the Myths of Islamic Art
Deconstructing the Myths of Islamic Art addresses how researchers can challenge stereotypical notions of Islam and Islamic art while avoiding the creation of new myths and the encouragement of nationalistic and ethnic attitudes. Despite its Orientalist origins, the field of Islamic art has continued to evolve and shape our understanding of the various civilizations of Europe, Africa, Asia, and the Middle East. Situated in this field, this book addresses how universities, museums, and other educational institutions can continue to challenge stereotypical or homogeneous notions of Islam and Islamic art. It reviews subtle and overt mythologies through scholarly research, museum collections and exhibitions, classroom perspectives, and artists’ initiatives. This collaborative volume addresses a conspicuous and persistent gap in the literature, which can only be filled by recognizing and resolving persistent myths regarding Islamic art from diverse academic and professional perspectives. The book will be of interest to scholars working in art history, museum studies, visual culture, and Middle Eastern studies.