New perspectives on early globalisms from objects and images Tales Things Tell offers new perspectives on histories of connectivity between Africa, Asia, and Europe in the period before the Mongol conquests of the thirteenth century. Reflected in objects and materials whose circulation and reception defined aesthetic, economic, and technological networks that existed outside established political and sectarian boundaries, many of these histories are not documented in the written sources on which historians usually rely. Tales Things Tell charts bold new directions in art history, making a compelling case for the archival value of mobile artifacts and images in reconstructing the past. In this beautifully illustrated book, Finbarr Barry Flood and Beate Fricke present six illuminating case studies from the sixth to the thirteenth centuries to show how portable objects mediated the mobility of concepts, iconographies, and techniques. The case studies range from metalwork to stone reliefs, manuscript paintings, and objects using natural materials such as coconut and rock crystal. Whether as booty, commodities, gifts, or souvenirs, many of the objects discussed in Tales Things Tell functioned as sources of aesthetic, iconographic, or technical knowledge in the lands in which they came to rest. Remapping the histories of exchange between medieval Islam and Christendom, from Europe to the Indian Ocean, Tales Things Tell ventures beyond standard narratives drawn from written archival records to demonstrate the value of objects and images as documents of early globalisms.

This book investigates the origins and transformations of medieval image culture and its reflections in theology, hagiography, historiography and art. It deals with a remarkable phenomenon: the fact that, after a period of 500 years of absence, the tenth century sees a revival of monumental sculpture in the Latin West. Since the end of Antiquity and the pagan use of free-standing, life-size sculptures in public and private ritual, Christians were obedient to the Second Commandment forbidding the making and use of graven images. Contrary to the West, in Byzantium, such a revival never occurred: only relief sculpture - mostly integrated within an architectural context - was used. However, Eastern theologians are the authors of highly fascinating and outstanding original theoretical reflections about the nature and efficacy of images. How can this difference be explained? Why do we find the most fascinating theoretical concepts of images in a culture that sticks to two-dimensional icons often venerated as cult-images that are copied and repeated, but only randomly varied? And why does a groundbreaking change in the culture of images - the revival of monumental sculpture - happen in a context that provides more restrained theoretical reflections upon images in their immediate theological, liturgical and artistic contexts? These are some of the questions that this book seeks to answer.The analysis and contextualization of the revival of monumental sculpture includes reflections on liturgy, architecture, materiality of minor arts and reliquaries, medieval theories of perception, and gift exchange and its impact upon practices of image veneration, aesthetics and political participation. Drawing on the historical investigation of specific objects and texts between the ninth and the eleventh century, the book outlines an occidental history of image culture, visuality and fiction, claiming that only images possess modes of visualizing what in the discourse of medieval theology can never be addressed and revealed.

Creation imagery in manuscripts made in the Middle Ages becomes a locus for visual experimentation as well as the expression of ideas about creativity in artistic endeavors. It links medieval ideas about creation, and the characteristic of the Divine Creator and the act of creation with themes in medieval thought about the work of medieval artists, by examining representations of divine creation and illustrations of the creation stories in Genesis. Case studies from manuscripts illuminating the creation dating from the eleventh to the fourteenth century (Junius 11/The Cædmon Manuscript, Roda Bible & Ripoll Bible, Bible moralisées, Hamburg Bible, Holkhalm Bible) reveal self-reflective moments of medieval artists relating artistic invention and theological debates about creation. The author identifies traces of the artists' thinking in their own work and then contextualizes those visual cues within the context of philosophical arguments about the creation of the world. The author considers how Western medieval artists, in inventing original illuminations and experimenting with new representational modes, suggest potential analogies between their own work, God's acts of creation, and nature's generative force.

Die Altmeister der Kunstgeschichte und ihre Werke sind fester Bestandteil des universitaren Studiums. Der Beitrag fruher Kunsthistorikerinnen zur Entwicklung der Disziplin ist hingegen bis heute weitgehend unsichtbar. Welche neuen Sichtweisen auf die Kunst, welche Methoden und Fragestellungen entwickelten die ersten Kunsthistorikerinnen, die seit dem spaten 19. Jahrhundert im deutschsprachigen Raum zum Studium zugelassen wurden? Welche Wirkungsfelder erschlossen sie sich, bevor der Nationalsozialismus vielen von ihnen eine Zasur setzte, die nach 1945 nur langsam uberwunden werden konnte? In dem Band werden 24 Texte vorgestellt, die zwischen 1910 bis 1980 entstanden sind. Expert*innen fuhren in die Entstehungszusammenhange der Texte ein. So macht der Band Arbeiten fruher Kunsthistorikerinnen wieder zuganglich und ladt dazu ein, die Vielfalt der Disziplin neu zu entdecken.

Götzenbild oder Skulptur? Seit dem neunten Jahrhundert voll-zieht sich ein grundlegender Wandel in der abendländischen Bildkultur: Monumentale Skulptu-ren erfahren - anders als in By-zanz - ein Wiederaufleben in der europäischen Kunst. Die wohl älteste erhaltene christ-liche Statue des Mittelalters ist die heilige Fides von Conques, die die ambivalente Haltung gegenüber Bildern exemplarisch verdeutlicht. Am Beispiel dieser Statue rekonstruiert Beate Fricke die Kontexte der Entwicklung eines westlichen Bildverständnis-ses, von der Genealogie von Skulptur bis zum Blickwechsel und Gabentausch mit Bildern im Kult. Die heilige Fides gleicht mehr einem heidnischen Idol oder einem antiken Herrscher als einer jungen frühchristlichen Heiligen. Ihr Bild, ihre Wunderberichte sind zusammen mit Konzilsakten, Chroniken und Heiligenviten die Zeugen einer Vorgeschichte von Aisthesis: von Wahrnehmung und Wirklichkeit im Mittelalter.

Das Buch weist in exemplarischen Fallstudien von der Antike bis zur Gegenwart die zentrale Rolle von Bildern für Prozesse der Vergemeinschaftung auf. Gegen Ende des 20. Jahrhunderts setzt in der akademischen Diskussion eine verstärkte Rückwendung zum Konzept der Gemeinschaft ein.

This 6 x 9 Lined Journal is just the right size to keep handy on a desk, in the car, or in the garage or workshop!Perfect for making notes, sketching plans or creating to do lists. With 50 lined pages and 50 blank pages, this journal/notebook is sure to come in handy for so many things

This 6 x 9 Lined Journal is just the right size to keep handy on a desk, in the car, or in the garage or workshop!Perfect for making notes, sketching plans or creating to do lists. With 50 lined pages and 50 blank pages, this journal/notebook is sure to come in handy for so many things

This 6 x 9 Lined Journal is just the right size to keep handy on a desk, in the car, or in the garage or workshop!Perfect for making notes, sketching plans or creating to do lists. With 50 lined pages and 50 blank pages, this journal/notebook is sure to come in handy for so many things