HART30029 Artistic Exchange in the Mediterranean | University of Bristol

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

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