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"This book considers the history and aesthetics of religious artwork in official and traditional Catholic contexts, examining the role that this religious art plays in the northwestern state of Sonora, Mexico"--

Legends --- Christian art and symbolism

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Ornament as argument explores notions of ornamentation and materiality in 10th and 11th century Christian manuscript illumination. In particular, the book investigates the function and metaphoric meaning of so-called textile pages - images evoking the weave patterns of Byzantine and Islamic silk. An analysis of a broad range of objects situates textile pages in the context of medieval reading practice, visual exegesis, and worship. Based on a various theological arguments that bear on the images and the book as an object in itself, the illuminations emerge as powerful textile metaphors. These concern material approaches to scripture, textile readings of the incarnation, and the physical book as body. Ornament as argument thus contributes to a new understanding of the vital role illuminated manuscripts played in medieval material culture.

Textile fabrics --- Christian art and symbolism

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Art, Byzantine. --- Christian art and symbolism --- Art, Medieval.

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"Um das Jahr 1200 spaltete der staufisch-welfische Thronstreit das Reich. Erfolglos versuchte die Christenheit, in mehreren Kreuzzügen das ?Heilige Land zu erobern. In diesen Jahren gelangte eine kostbare Reliquie, der Arm des Apostels Simon, in die kurz zuvor gegründete Prämonstratenserabtei Sayn. Die Chorherren gaben einen kostbaren Reliquienschrein in Auftrag, der mit seinen 18 Bergkristallfenstern ein Schlüsseldokument in der Geschichte der Goldschmiedekunst darstellt. Das vorliegende Buch ordnet den Simonsschrein in seine kirchen?-politischen und frömmigkeitsgeschichtlichen Zusammenhänge ein und stellt ihn in den Kontext verwandter Werke in Trier, Köln und Aachen." --

Sayn --- Simon ap. --- Reliquaires --- Christian shrines --- Christian art and symbolism --- Christian saints in art. --- Christian art and symbolism.

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From a Byzantine province to an independent Latin kingdom under the Lusignan dynasty (11929/27–1474/89) and a colonial outpost of the Venetian maritime empire (1474/89–1571), the island of Cyprus, at the eastern end of the Mediterranean, is blessed with a rich and diverse medieval cultural heritage. Its monumental art and its material culture – architecture, fresco and icon painting, woodcarving, metalwork, glazed ceramics, and so on – exist at the crossroads of several artistic traditions often thought to represent mutually exclusive visual languages, such as the late medieval Gothic and Byzantine styles (in their respective variants), the local art of the Levant, and the classicizing mode of the Italian Renaissance. It is precisely this seemingly ‘composite’ nature of medieval Cypriot artistic production that, over the years, has both divided and united scholars attempting to match styles and forms to the patronage of the various religious, ethnic, and linguistic groups (Latins, Greeks, Syrians, Armenians, and others) making up the island’s complex social fabric.The seventeen essays in this volume offer a snapshot of the most recent scholarship on the art, archaeology, and material culture of Cyprus under Latin rule. Established and emerging art historians and archaeologists, both trained Byzantinists and specialists of European medieval art, come together to re-appraise the field in the light of current research, put forward new evidence from fresh archival, archaeological, or archaeometric research, and propose novel interpretations destined to blaze exciting new pathways to future study of this fascinating body of material.

Christian art and symbolism --- Church architecture --- Art, Medieval --- Art, Renaissance --- Cyprus --- Antiquities --- Opgravingen (Archeologie) --- Congressen