DOCSLIB.ORG

HART30029 Artistic Exchange in the Mediterranean | University of Bristol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HART30029 Artistic Exchange in the Mediterranean | University of Bristol 09/29/21 HART30029 Artistic Exchange in the Mediterranean | University of Bristol HART30029 Artistic Exchange in the View Online Mediterranean Alcouffe, Daniel. 1984. ‘Islamic Hardstone Carving.’ In The Treasury of San Marco, Venice, edited by David Buckton, 202–27. Milan: Olivetti. https://www.metmuseum.org/art/metpublications/The_Treasury_of_San_Marco_Venice. Alicia Walker. 2008. ‘Meaningful Mingling: Classicizing Imagery and Islamicizing Script in a Byzantine Bowl.’ The Art Bulletin 90 (1): 32–53. http://www.jstor.org.bris.idm.oclc.org/stable/20619587. ———. 2010. ‘Patterns of Flight: Middle Byzantine Adoptions of the Chinese Feng Huang Bird.’ Ars Orientalis 38: 188–216. http://www.jstor.org.bris.idm.oclc.org/stable/29550024. Allan, J. W. 1994. ‘The Influence of the Metalwork of the Arab Mediterranean on that of Medieval Europe.’ In The Arab Influence in Medieval Europe, Middle East cultures series:44–62. Reading: Ithaca Press. Anderson, Glaire. 2014. ‘Sign of the Cross: Contexts for the Ivory Cross of San Millán de La Cogolla.’ Journal of Medieval Iberian Studies 6 (1): 15–41. https://doi.org/10.1080/17546559.2014.889321. Anderson, Glaire D. 2013. ‘Architecture and Ornament.’ In The Islamic Villa in Early Medieval Iberia: Architecture and Court Culture in Umayyad Cordoba, 47–104. Farnham: Ashgate. Armando, Silvia. 2015. ‘Fatimid Ivories in Ifrīqiya: The Madrid and Mantua Caskets between Construction and Decoration.’ Journal of Islamic Archaeology 2.2: 195–228. Avinoam Shalem. 2011. ‘Histories of Belonging and George Kubler’s Prime Object.’ Getty Research Journal, no. 3: 1–14. http://www.jstor.org.bris.idm.oclc.org/stable/23005384. Avinoam, Shalem. 2014. ‘The Architecture for the Body: Some Reflections on the Mobility of Textiles and the Fate of the so-Called Chasuble of Saint Thomas Becket in the Cathedral of Fermo in Italy.’ In Dalmatia and the Mediterranean: Portable Archaeology and the Poetics of Influence, edited by Alina Alexandra Payne, volume 1:246–67. Leiden: Brill. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1632919&ppg=26 8. Bacci, Michele. 2008. ‘Chapter 7 Byzantium and the West.’ In Byzantium, 330-1453, 275–305. London: Royal Academy of Arts. Baer, Eva. 2014. ‘Chapter 4 Ayyubid Metalwork with Christian Images.’ In Ayyubid Metalwork with Christian Images, Studies in Islamic art and architecture:41–49. Leiden: Brill. 1/17 09/29/21 HART30029 Artistic Exchange in the Mediterranean | University of Bristol Ballian, Anna. 2010. ‘Three Islamic Inlaid Brasses and the Mosul Tradition of Inlaid Metalwork.’ Mouseio Benake ̄ , 113–40. Beech, George T. 1993. ‘The Eleanor of Aquitaine Vase, William IX of Aquitaine, and Muslim Spain.’ Gesta 32 (1): 3–10. https://doi.org/10.2307/767013. Behrens-Abouseif, Doris. 2004. ‘European Arts and Crafts at the Mamluk Court.’ Muqarnas Online 21 (1): 45–54. https://doi.org/10.1163/22118993-90000053. Belting, Hans. 1994a. ‘Chapter 16 ’In the Greek Manner’: Imported Icons in the West.’ In Likeness and Presence: A History of the Image before the Era of Art, 330–48. Chicago: University of Chicago Press. ———. 1994b. ‘Chapter 17 Icons in the Age of the Tuscan Cities.’ In Likeness and Presence: A History of the Image before the Era of Art. Chicago: University of Chicago Press. Bettini, Sergio. 1984. ‘Venice, the Pala d’Oro and Constantinople.’ In The Treasury of San Marco, Venice, edited by David Buckton, 35–64. Milan: Olivetti. Boehm, Barbara Drake, and Melanie Holcomb, eds. 2016a. Jerusalem, 1000-1400: Every People under Heaven. New York: The Metropolitan Museum of Art. ———. , eds. 2016b. Jerusalem, 1000-1400: Every People under Heaven. New York: The Metropolitan Museum of Art. ———. , eds. 2016c. Jerusalem, 1000-1400: Every People under Heaven. New York: The Metropolitan Museum of Art. Booms, Dirk, and Peter Higgs. 2016. Sicily: Culture and Conquest. London: The British Museum Press. Borsook, Eve. 1990. ‘The Cappella Palatina at Palermo: A Coronation Commemorated.’ In Messages in Mosaic: The Royal Programmes of Norman Sicily (1130-1187), 17–41. Oxford: Clarendon. Brown, Patricia Fortini. 1996. Venice & Antiquity: The Venetian Sense of the Past. New Haven: Yale University Press. Brubaker, Leslie. 2004. ‘The Elephant and the Ark: Cultural and Material Interchange across the Mediterranean in the Eighth and Ninth Centuries.’ Dumbarton Oaks Papers 58. https://doi.org/10.2307/3591385. Buchtal, Hugo. 1957. Miniature Painting in the Latin Kingdom. Buckton, David, and John Osborne. 2000. ‘The Enamel of Doge Ordelaffo Falier on the Pala d’Oro in Venice.’ Gesta 39 (1): 43–49. https://doi.org/10.2307/767152. Bush, Olga. 2018. Reframing the Alhambra: Architecture, Poetry, Textiles and Court Ceremonial. Edinburgh: Edinburgh University Press. 2/17 09/29/21 HART30029 Artistic Exchange in the Mediterranean | University of Bristol https://doi.org/10.3366/edinburgh/9781474416504.001.0001. Campbell, Caroline, and Alan Chong. 2005. Bellini and the East. London: National Gallery Company. Carboni, Stefano, ed. 2007a. Venice and the Islamic World, 828-1797. New Haven: Yale University Press. ———. , ed. 2007b. Venice and the Islamic World, 828-1797. New Haven: Yale University Press. Carr, Annemarie Weyl. 1995. ‘Byzantines and Italians on Cyprus: Images from Art.’ Dumbarton Oaks Papers 49. https://doi.org/10.2307/1291718. CECILY J. HILSDALE. 2010. ‘The Imperial Image at the End of Exile: The Byzantine Embroidered Silk in Genoa and the Treaty of Nymphaion (1261).’ Dumbarton Oaks Papers 64: 151–99. http://www.jstor.org.bris.idm.oclc.org/stable/41480885. Contadini, Anna. 1999. ‘The Cutting Edge: Problems of History, Identification and Technique of Fatimid Rock Crystals.’ In L’Egypte Fatimide. Son Art et Son Histoire, edited by M Barrucand, 319–29. Paris: Presses Universitaires de Paris-Sorbonne. http://eprints.soas.ac.uk/4508/1/Contadini_1999_CuttingEdge.pdf. ———. 2002. ‘Beasts That Roared: The Pisa Griffin and the New York Lion.’ In Cairo to Kabul: Afghan and Islamic Studies Presented to Ralph Pinder-Wilson, edited by Warwick Ball and Leonard Harrow, 65–83. London: Melisende. https://eprints.soas.ac.uk/4219/. ———. 2010. ‘Translocation and Transformation: Some Middle Eastern Objects in Europe.’ In The Power of Things and the Flow of Cultural Transformations: Art and Culture between Europe and Asia, edited by Lieselotte E. Saurma-Jeltsch and Anja Eisenbeiss, 42–64. Berlin: Deutscher Kunstverlag. Cormack, Robin, and Stavros Mihalarias. 1984. ‘A Crusader Painting of St George: “Maniera Greca” or “Lingua Franca”.’ The Burlington Magazine 126 (972): 132–41. https://www-jstor-org.bris.idm.oclc.org/stable/881572?seq=1#metadata_info_tab_contents . Cormack, Robin, Maria Vasilakē, and Royal Academy of Arts. 2008. Byzantium, 330-1453. London: Royal Academy of Arts. Cruikshank Dodd, Erica. 2011. ‘Siculo-Arabic Ivories: Christian Motifs in Islamic Painting.’ In Siculo-Arabic Ivories and Islamic Painting, 1100-1300: Proceedings of the International Conference, Berlin, 6-8 July 2007, edited by David Knipp, Band 36:151–67. München: Hirmer Verlag GmbH. Curcic, Slobodan. 1987. ‘Some Palatine Aspects of the Cappella Palatina in Palermo.’ Dumbarton Oaks Papers 41. https://doi.org/10.2307/1291551. Cutler, Anthony. 1995. ‘From Loot to Scholarship: Changing Modes in the Italian Response to Byzantine Artifacts, Ca. 1200-1750.’ Dumbarton Oaks Papers 49. https://doi.org/10.2307/1291714. 3/17 09/29/21 HART30029 Artistic Exchange in the Mediterranean | University of Bristol ———. 2001. ‘Gifts and Gift Exchange as Aspects of the Byzantine, Arab, and Related Economies.’ Dumbarton Oaks Papers 55. https://doi.org/10.2307/1291821. Cynthia Robinson. 2003. ‘Mudéjar Revisited: A Prologoména to the Reconstruction of Perception, Devotion, and Experience at the Mudéjar Convent of Clarisas, Tordesillas, Spain (Fourteenth Century A.D.).’ RES: Anthropology and Aesthetics, no. 43: 51–77. http://www.jstor.org.bris.idm.oclc.org/stable/20167590. Dale, Thomas. 2010. ‘Reinventing the East at San Marco after the Fourth Crusade.’ In San Marco, Byzantium, and the Myths of Venice, 151–91. Washington, D.C.: Dumbarton Oaks Research Library and Collection. Dale, Thomas E. A. 1994. ‘Inventing a Sacred Past: Pictorial Narratives of St. Mark the Evangelist in Aquileia and Venice, Ca. 1000-1300.’ Dumbarton Oaks Papers 48. https://doi.org/10.2307/1291722. Dell’Acqua, Francesca, ed. 2016. The Salerno Ivories: Objects, Histories, Contexts. Berlin: Gebr. Mann. Derbes, Anne. 1989. ‘Siena and the Levant in the Later Dugento.’ Gesta 28 (2): 190–204. https://doi.org/10.2307/767068. ———. 1996. Picturing the Passion in Late Medieval Italy: Narrative Painting, Franciscan Ideologies, and the Levant. Cambridge: Cambridge University Press. Derbes, Anne, and Amy Neff. 2004. ‘Italy, the Mendicant Orders, and the Byzantine Sphere.’ In Byzantium: Faith and Power (1261-1557), 449–61. New York: Metropolitan Museum of Art in conjunction with Yale University Press. ‘Detailed Record for Egerton 1139.’ n.d. http://www.bl.uk/catalogues/illuminatedmanuscripts/record.asp?MSID=8095. Dittelbach, Thomas. 2005. ‘The Image of the Private and Public King in Norman Sicily.’ In Römisches Jahrbuch Der Bibliotheca Hertziana: Band 35: 2003/4. München: Hirmer Verlag. Dodd, Erica Cruikshank. 2011. Siculo-Arabic Ivories: Christian Motifs in Islamic Painting’. Edited by David Knipp. Siculo-Arabic Ivories and Islamic Painting, 1100-1300: Proceedings of the International Conference, Berlin, 6-8 July 2007. Vol. Band 36. München: Hirmer Verlag GmbH. Dodds, Jerrilynn, ed. 1992. Al-Andalus: The Art
Load more

Recommended publications
  • With a Short Neck and Angular Should
    LOW HIGH Lot Description Estimate Estimate Chinese archaistic bronze wine vessel (pou), with a short neck and angular shoulder with 1 three ram's head form handles, the body with taotie on a dense ground, raised on a tall foot, 8"h $ 300 - 500 (lot of 2) Chinese archaistic bronzes, the first a pouring vessel on tripod supports with taotie 2 pattern, body with inscription; the other an ox form guang lidded vessel, with a bird motif on the body,10.75"w $ 300 - 500 (lot of 3) Asian bronze items, consisting of a Himalayan ritual dagger (purba) and a ghanta 3 (bell); together with a Chinese archaistic bronze bell, with raised bosses, with wood stand, bell: 8.25"h $ 300 - 500 (lot of 5) Chinese hardstone plaques, consisting of two butterflies; one floral roundel; one 4 fan and one of bird-and-flowers, 2.75"w $ 150 - 250 5 Chinese hardstone bangle, reticulated with bats and tendrils, 2.5"w $ 300 - 500 (lot of 2) Chinese hardstone pebbles, the first carved of a bamboo stalk; the second, of a 6 mouse and sack, largest: 2"w $ 400 - 600 7 (lot of 2) Chinese hardstone figural carvings, featuring one young attendant; and the other of an immortal with a lion on his shoulder, with wood stands, carving: 3.125"h $ 300 - 500 Chinese bronze zoomorph, featuring a recumbent beast with a reticulated body with a bird 8 pattern, 4"w $ 200 - 400 Chinese patinated bronze censer of ding-form, the rim flanked by upright handles and the 9 body cast with floral scrolls, raised on tall tripod supports, with wood stand and lid, censer: 5"h $ 300 - 500 (lot of 5) Chinese
    [Show full text]
  • KIRANJYOT RENU RANA FILE NO. CCRT/SF-3/163/2015 ADDRESS; D 1051 NEW FRIENDS COLONY NEAR MATA MANDIR EMAIL: [email protected] MOBILE: 98101 67661
    KIRANJYOT RENU RANA FILE NO. CCRT/SF-3/163/2015 ADDRESS; D 1051 NEW FRIENDS COLONY NEAR MATA MANDIR EMAIL: [email protected] MOBILE: 98101 67661 PROGRESS REPORT 1 WHAT IS SCULPTURE Three-dimensional art that can stand on its own is known as a sculpture. Sculptures vary in sizes, and may be small enough to fit in the palm of a hand or large enough that they can only fit in a large outdoor space. Some sculptures are representative, and may look like a famous person; others may be abstract. The materials used in sculpture vary, and anything from ceramics, cement, recycled materials, paper or synthetics may be used to produce this particular type of art. By definition, a sculpture differs from other structures in that it does not have an intrinsically utilitarian purpose. HISTORY & ORIGIN Sculpture was used mainly as a form of religious art to illustrate the principles of Hinduism, Buddhism, or Jainism. The female nude in particular was used to depict the numerous attributes of the gods, for which it was often endowed with multiples heads and arms. Important milestones in the history of sculpture include: the Buddhist Pillars of Ashokaof the Mauryan period, with their wonderful carved capitals (3rd century BCE); the figurative Greco- Buddhist sculpture of the Gandhara and Mathura schools, and the Hindu art of the Gupta period (1st-6th century CE). In brief, the flow of the growth of sculpture is as follows: Indus Valley Civilization (c.3300-1300 BCE) Mauryan Sculpture: Pillars of Ashoka (3rd Century BC Ajanta Caves (c.200 BCE - 650 CE) Under the Kushans, sculpture from Gandhara and Mathura art went on to influence artists across India, Elephanta Caves (c.550-720) Pallava and Pandya Sculpture from South India (600-900) Ellora Caves (c.600-1000) Chandela Stone Sculpture in Central India (10th-13th century) Chola Bronze Sculpture of South India, Sri Lanka (9th-13th century) Famous Sculptures that impressed and inspired me 1) TheAshoka Pillars 2) SanchiStupa 3) Ajanta Caves 4).
    [Show full text]
  • Dumbarton Oaks
    annual report 2017–2018 Research Library and Collection and Library Research Dumbarton Oaks dumbarton oaks • 2017–2018 Washington, DC Dumbarton Oaks Research Library and Collection 2017–2018 Dumbarton Oaks Research Library and Collection Annual Report 2017–2018 © 2018 Dumbarton Oaks Trustees for Harvard University, Washington, DC ISSN 0197-9159 Cover: The Cutting Garden Frontispiece: Albert Edward Sterner (American, 1863–1946). Mildred Barnes Bliss, 1908. Chalk (sanguine crayon), charcoal, and graphite on paper. HC.D.1908.03.(Cr) www.doaks.org/about/annual-reports Contents From the Director 7 Director’s Office 13 Academic Programs 19 Fellowship Reports 35 Byzantine Studies 57 Garden and Landscape Studies 69 Pre-Columbian Studies 81 Library 89 Publications and Digital Humanities 95 Museum 105 Garden 113 Music at Dumbarton Oaks 117 Facilities, Finance, Human Resources, and Information Technology 121 Administration and Staff 127 From the Director This is the tenth annual report to roll off the presses during my direc- torship, which began in 2007. Previously, Dumbarton Oaks dissemi- nated only bare lists of facts and figures without accompanying prose. The full run of such accounts, reaching back to 1989, can be inspected on the website. For a decade now, a different kind of compendium has been offered yearly: a historical record that doubles as a celebration of imaginative industry. If nothing else, I aim in this statement to voice the appreciation I feel for my colleagues at Dumbarton Oaks. Without their commitment and daily contributions, all dreams relating to aca- demic programs and physical plans would stay vaporous nothings. My collaborators in this wonderful establishment encompass dozens of extraordinarily experienced, talented, and creative individuals who not only come to work with a spring in their step but who, through their performance, put the same resilience into the strides of those they assist.
    [Show full text]
  • Of the Grand Cameo: a Holistic Approach to Understanding the Piece, Its Origins and Its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art
    Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, and the Metal and Jewelry Arts Commons Recommended Citation Sidamon-Eristoff, Constantine Prince, "The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context" (2018). MA Theses. 14. https://digitalcommons.sia.edu/stu_theses/14 This Thesis is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context by Constantine P. Sidamon-Eristoff A thesis submitted in conformity With the requirements for the Master’s Degree Fine and Decorative Art and Design Sotheby’s Institute of Art 2018 Word Count: 14,998 The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context By: Constantine P. Sidamon-Eristoff The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing.
    [Show full text]
  • The Pseudo-Kufic Ornament and the Problem of Cross-Cultural Relationships Between Byzantium and Islam
    The pseudo-kufic ornament and the problem of cross-cultural relationships between Byzantium and Islam Silvia Pedone – Valentina Cantone The aim of the paper is to analyze pseudo-kufic ornament Dealing with a much debated topic, not only in recent in Byzantine art and the reception of the topic in Byzantine times, as that concerning the role and diffusion of orna- Studies. The pseudo-kufic ornamental motifs seem to ment within Byzantine art, one has often the impression occupy a middle position between the purely formal that virtually nothing new is possible to add so that you abstractness and freedom of arabesque and the purely have to repeat positions, if only involuntarily, by now well symbolic form of a semantic and referential mean, borrowed established. This notwithstanding, such a topic incessantly from an alien language, moreover. This double nature (that gives rise to questions and problems fueling the discussion is also a double negation) makes of pseudo-kufic decoration of historical and theoretical issues: a debate that has been a very interesting liminal object, an object of “transition”, going on for longer than two centuries. This situation is as it were, at the crossroad of different domains. Starting certainly due to a combination of reasons, but ones hav- from an assessment of the theoretical questions raised by ing a close connection with the history of the art-historical the aesthetic peculiarities of this kind of ornament, we discipline itself. In the present paper our aim is to focus on consider, from this specific point of view, the problem of a very specific kind of ornament, the so-called pseudo-kufic the cross-cultural impact of Islamic and islamicizing formal inscriptions that rise interesting pivotal questions – hither- repertory on Byzantine ornament, focusing in particular on to not so much explored – about the “interference” between a hitherto unpublished illuminated manuscript dated to the a formalistic approach and a functionalistic stance, with its 10th century and held by the Marciana Library in Venice.
    [Show full text]
  • ^ ^ the Journal Of
    ^^ The Journal of - Volume 29 No. 5/6 Gemmology January/April 2005 The Gemmological Association and Gem Testing Laboratory of Great Britain Gemmological Association and Gem Testing Laboratory of Great Britain 27 Greville Street, London EC1N 8TN Tel: +44 (0)20 7404 3334 • Fax: +44 (0)20 7404 8843 e-mail: [email protected] • Website: www.gem-a.info President: E A jobbins Vice-Presidents: N W Deeks, R A Howie, D G Kent, R K Mitchell Honorary Fellows: Chen Zhonghui, R A Howie, K Nassau Honorary Life Members: H Bank, D J Callaghan, E A Jobbins, J I Koivula, I Thomson, H Tillander Council: A T Collins - Chairman, S Burgoyne, T M J Davidson, S A Everitt, L Hudson, E A Jobbins, J Monnickendam, M J O'Donoghue, E Stern, P J Wates, V P Watson Members' Audit Committee: A J Allnutt, P Dwyer-Hickey, J Greatwood, B Jackson, L Music, J B Nelson, C H Winter Branch Chairmen: Midlands - G M Green, North East - N R Rose, North West -DM Brady, Scottish - B Jackson, South East - C H Winter, South West - R M Slater Examiners: A J Allnutt MSc PhD FGA, L Bartlett BSc MPhil FGA DCA, Chen Meihua BSc PhD FCA DGA, S Coelho BSc FCA DCA, Prof A T Collins BSc PhD, A G Good FCA DCA, D Gravier FGA, J Greatwood FGA, S Greatwood FGA DCA, G M Green FGA DGA, He Ok Chang FGA DGA, G M Howe FGA DGA, B Jackson FGA DGA, B Jensen BSc (Geol), T A Johne FGA, L Joyner PhD FGA, H Kitawaki FGA CGJ, Li Li Ping FGA DGA, M A Medniuk FGA DGA, T Miyata MSc PhD FGA, M Newton BSc DPhil, C J E Oldershaw BSc (Hons) FGA DGA, H L Plumb BSc FGA DCA, N R Rose FGA DGA, R D Ross BSc FGA DGA, J-C
    [Show full text]
  • Stratis Papaioannou
    Curriculum Vitae Stratis Papaioannou Address: Department of Classics, Wilbour Hall 105, Box 1856 / Brown University, Providence, RI 02912-1856 / phone: (401) 863-2173 or 863-2123; Fax: (401) 863-7484 / [email protected] Present Position: Associate Professor of Classics (tenured) (start date: July 2011); Director, Medieval Studies Program (start date: July 2016); Brown University Research Interests: Post-classical Greek literary and cultural history, especially late antique and Byzantine writing in its social context; Byzantine book and letter-writing cultures; literary aesthetics, and concepts of gender, self, and desire. EDUCATION 2000: D.Phil., with distinction, University of Vienna (Institut für Byzantinistik und Neogräzistik). Dissertation: Writing the Ego: Michael Psellos’ Rhetorical Autography 1996: Diploma in Byzantine Music, Conservatory of Argyroupolis, Athens 1995: B.A. in Philology (Classical, Medieval, and Modern Greek and Latin; National and Kapodistrian University of Athens). EMPLOYMENT 2016- : Director, Medieval Studies Program, Brown University 2011-: Associate Professor of Classics, Brown University 2012-2016: Director, Modern Greek Studies Program, Brown University (on leave: 2014-2015) 2007-2011: William A. Dyer, Jr. Assistant Professor in the Humanities, Brown University 2006-2009: Dumbarton Oaks Assistant Professor of Byzantine Studies, Brown University (joint appointment with Dumbarton Oaks, Harvard University) 2000-2005: Assistant Professor of Greek and Latin, The Catholic University of America. Member: Centers of the Study of Early Christianity and Medieval and Byzantine Studies Other Appointments: Since 2017 Collaborator in “Novel Saints. Ancient Novelistic Heroism in the Hagiography of Late Antiquity and the Early Middle Ages,” Host institution: University of Ghent; Principal investigator: Koen de Temmerman. Website: http://cordis.europa.eu/project/rcn/109905_en.html 1 30 Aug.
    [Show full text]
  • Nephrite Imperial Presentation Portrait Snuffbox by Carl Fabergé St
    The Orlov-Davydov Nephrite Imperial Presentation portrait snuffbox by Carl Fabergé St. Petersburg. The box was presented on the 26 November 1904 to Count Anatoli Vladimirovich Orlov-Davydov (1837-1905) on his retirement and presented by the Empress Alexandra Feodorovna in the absence of the Emperor at the front. The Orlov-Davydov Imperial Presentation snuffbox by Carl Fabergé St. Petersburg.1904. Nephrite, gold, diamonds. Workmaster: Henrik Wigström. Provenance: Emperor Nicholas II & Empress Alexandra Feodorovna. Count Anatoli Vladimirovich Orlov-Davydov. Wartski, London. The Duchess of Alba. 1 Bibliography. Carl Fabergé - Goldsmith to the Imperial Court of Russia by A. Kenneth Snowman, page 118. Wartski- The First One hundred and Fifty Years by Geoffrey C. Munn, page 248. A highly important Imperial presentation snuffbox, the bun shaped nephrite lid and base mounted with a cage work of green gold laurels and red gold beadwork secured with red gold forget-me-not flowers, tied with similarly coloured gold bows and bearing trefoils set with rose diamonds. The lid is emblazoned with a miniature of Emperor Nicholas II wearing the uniform of the Preobrazhensky Guards by the court miniaturist Vasyli Zuiev, in an elaborate diamond frame surmounted with a diamond-set Romanov crown. Jewelled works of art incorporating the sovereign’s portrait were the highest form of state gift in Imperial Russia. During the reign of Nicholas II Fabergé only supplied fourteen examples to the Emperor and this box is the most lavish of those that survive. Dia. 8.5cm; H. 6cm. The box was presented on 26th September 1904 by Empress Alexandra Feodorovna to Lieutenant-General and Grand Master of the Horse, Count Anatoli Vladimirovich Orlov- Davydov.
    [Show full text]
  • Dumbarton Oaks Research Library and Collection
    Dumbarton Oaks Research Library and Collection 2016–2017 Dumbarton Oaks Research Library and Collection Annual Report 2016–2017 © 2017 Dumbarton Oaks Trustees for Harvard University, Washington, D.C. ISSN 0197-9159 Cover photograph: The Byzantine Courtyard for the reopening of the museum in April 2017. Frontispiece: The Music Room after the installation of new LED lighting. www.doaks.org/about/annual-reports Contents From the Director 7 Director’s Office 13 Academic Programs 19 Fellowship Reports 35 Byzantine Studies 59 Garden and Landscape Studies 69 Pre-Columbian Studies 85 Library 93 Publications 99 Museum 113 Gardens 121 Friends of Music 125 Facilities, Finance, Human Resources, and Information Technology 129 Administration and Staff 135 From the Director A Year of Collaboration Even just within the walls and fencing of our sixteen acres, too much has happened over the past year for a full accounting. Attempting to cover all twelve months would be hopeless. Instead, a couple of happenings in May exemplify the trajectory on which Dumbarton Oaks is hurtling forward and upward. The place was founded for advanced research. No one who respects strong and solid tradi- tions would wrench it from the scholarship enshrined in its library, archives, and research collections; at the same time, it was designed to welcome a larger public. These two events give tribute to this broader engagement. To serve the greater good, Dumbarton Oaks now cooperates vigorously with local schools. It is electrifying to watch postdoc- toral and postgraduate fellows help students enjoy and learn from our gardens and museum collections. On May 16, we hosted a gath- ering with delegates from the DC Collaborative.
    [Show full text]
  • Antique Italian Pietra Dura Brass & Alabaster Comport Dish
    anticSwiss 26/09/2021 14:08:10 http://www.anticswiss.com Antique Italian Pietra Dura Brass & Alabaster Comport Dish FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Regent Antiques London Style: Altri stili +44 2088099605 447836294074 Height:8cm Width:29cm Depth:29cm Price:700€ DETAILED DESCRIPTION: This is a superb quality antique Italian Pietra Dura mounted, gilt brass and alabaster table-centre comport dish, dating from the late 19th Century. With striking pierced Neo-Gothic chased brass mounts this splendid alabaster dish is set with six highly decorative pietra dura roundels depicting various floral decoration. It is raised on a sturdy circular brass base. It is a sumptuous piece which will make a great statement in any special room. Condition: In really excellent condition, please see photos for confirmation. Dimensions in cm: Height 8 x Width 29 x Depth 29 Dimensions in inches: Height 3.1 x Width 11.4 x Depth 11.4 Pietra dura is a term for the inlay technique of using cut and fitted, highly polished coloured stones to create images. It is considered a decorative art. Pietre dure is an Italian plural meaning "hard rocks" or hardstones; the singular pietra dura is also encountered in Italian. In Italian, but not in English, the term embraces all gem engraving and hardstone carving, which is the artistic carving of three-dimensional objects in semi-precious stone, normally from a single piece, for example in Chinese jade. The traditional convention in English has been to use the singular pietra dura just to denote multi-colored inlay work. However, in recent years there has been a trend to use pietre dure as a term for the same thing, but not for all of the techniques it covers, in Italian.
    [Show full text]
  • Cilician Armenian Mediation in Crusader-Mongol Politics, C.1250-1350
    HAYTON OF KORYKOS AND LA FLOR DES ESTOIRES: CILICIAN ARMENIAN MEDIATION IN CRUSADER-MONGOL POLITICS, C.1250-1350 by Roubina Shnorhokian A thesis submitted to the Department of History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (January, 2015) Copyright ©Roubina Shnorhokian, 2015 Abstract Hayton’s La Flor des estoires de la terre d’Orient (1307) is typically viewed by scholars as a propagandistic piece of literature, which focuses on promoting the Ilkhanid Mongols as suitable allies for a western crusade. Written at the court of Pope Clement V in Poitiers in 1307, Hayton, a Cilician Armenian prince and diplomat, was well-versed in the diplomatic exchanges between the papacy and the Ilkhanate. This dissertation will explore his complex interests in Avignon, where he served as a political and cultural intermediary, using historical narrative, geography and military expertise to persuade and inform his Latin audience of the advantages of allying with the Mongols and sending aid to Cilician Armenia. This study will pay close attention to the ways in which his worldview as a Cilician Armenian informed his perceptions. By looking at a variety of sources from Armenian, Latin, Eastern Christian, and Arab traditions, this study will show that his knowledge was drawn extensively from his inter-cultural exchanges within the Mongol Empire and Cilician Armenia’s position as a medieval crossroads. The study of his career reflects the range of contacts of the Eurasian world. ii Acknowledgements This project would not have been possible without the financial support of SSHRC, the Marjorie McLean Oliver Graduate Scholarship, OGS, and Queen’s University.
    [Show full text]
  • Byzantine Garden Culture
    Byzantine Garden Culture Byzantine Garden Culture edited by Antony Littlewood, Henry Maguire, and Joachim Wolschke-Bulmahn Dumbarton Oaks Research Library and Collection Washington, D.C. © 2002 Dumbarton Oaks Trustees for Harvard University Washington, D.C. All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Data Byzantine garden culture / edited by Antony Littlewood, Henry Maguire and Joachim Wolschke- Bulmahn. p. cm. Papers presented at a colloquium in November 1996 at Dumbarton Oaks. Includes bibliographical references (p. ) ISBN 0-88402-280-3 (alk. paper) 1. Gardens, Byzantine—Byzantine Empire—History—Congresses. 2. Byzantine Empire— Civilization—Congresses. I. Littlewood, Antony Robert. II. Maguire, Henry, 1943– III. Wolschke- Bulmahn, Joachim. SB457.547 .B97 2001 712'.09495—dc21 00-060020 To the memory of Robert Browning Contents Preface ix List of Abbreviations xi The Study of Byzantine Gardens: Some Questions and Observations from a Garden Historian 1 Joachim Wolschke-Bulmahn The Scholarship of Byzantine Gardens 13 Antony Littlewood Paradise Withdrawn 23 Henry Maguire Byzantine Monastic Horticulture: The Textual Evidence 37 Alice-Mary Talbot Wild Animals in the Byzantine Park 69 Nancy P. Sevcenko Byzantine Gardens and Horticulture in the Late Byzantine Period, 1204–1453: The Secular Sources 87 Costas N. Constantinides Theodore Hyrtakenos’ Description of the Garden of St. Anna and the Ekphrasis of Gardens 105 Mary-Lyon Dolezal and Maria Mavroudi Khpopoii?a: Garden Making and Garden Culture in the Geoponika 159 Robert Rodgers Herbs of the Field and Herbs of the Garden in Byzantine Medicinal Pharmacy 177 John Scarborough The Vienna Dioskorides and Anicia Juliana 189 Leslie Brubaker viii Contents Possible Future Directions 215 Antony Littlewood Bibliography 231 General Index 237 Index of Greek Words 260 Preface It is with great pleasure that we welcome the reader to this, the first volume ever put together on the subject of Byzantine gardens.
    [Show full text]