"This volume offers an exploration of the Christian-Islamic encounter in a pan-Mediterranean context, through an array of new research papers based on micro-historical case studies of the religious arts, architecture, and material culture. The new Mediterraneanism forged during the last decades has opened the door to approaches that reveal Christian-Islamic interchange in its full complexity, as well as diversity. 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,…mehr
"This volume offers an exploration of the Christian-Islamic encounter in a pan-Mediterranean context, through an array of new research papers based on micro-historical case studies of the religious arts, architecture, and material culture. The new Mediterraneanism forged during the last decades has opened the door to approaches that reveal Christian-Islamic interchange in its full complexity, as well as diversity. 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. This concept finds perfect application in the case of textiles, ceramics, metalware, and other artifacts that traveled across the medieval Mediterranean. Commodities such as the balsam oil further expand this shared space, to also encompass the sensory aspect in its broadest sense. What is more, the appropriation of spolia and symbols bring visual appeal through the meaning they produce and convey, opening up the conceptualization of this space even more"--Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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Autorenporträt
Sami Luigi De Giosa is assistant professor at the College of Fine Arts and Design, University of Sharjah. His most recent publication is The Crosses of the Sultan. He has curated exhibitions on Islamic art around the world including Hajj: Memories of a Journey Exhibition at the Sheikh Zayed Grand Mosque in Abu Dhabi. Nikolaos Vryzidis is post-doctoral research fellow in the Department of History and Archaeology at the Aristotle University of Thessaloniki. His latest publications include the article "Between Three Worlds: The ‘Veneto-Saracenic’ Candleholder of Docheiariou Monastery" for which he has received the N. Drandakis Prize by the Christian Archaeological Society.
Inhaltsangabe
Introduction: The Aesthetic Space of Interreligious Encounter: Microhistorical Case Studies from the Medieval Mediterranean Sami Luigi de Giosa and Nikolaos Vryzidis Islamo-Christian Mediterranean Trade and Its Artistic Ramifications 1. From One Edge of the Mediterranean to the Other: Prolegomena on Mamluk and Iberian Ceramics in Venetian Crete Maria Bormpoudaki 2. Reconsidering “Andalusi” Textiles in Two Christian Contexts: The San Isidoro and Bayonne Silks between Art Historical Myth and Reality Ana Cabrera-Lafuente 3. Balsam Oil of Mattariyya: Mamluk Contribution to Christian Liturgy Hani Hamza 4. Judging a Book by Its Cover: The Contribution of Islamic Bindings to the Look of the European Book Alison Ohta Rituals and Liturgies: Objects, Meaning, and Decoration 5. Counter-propaganda and Talismanic Power: The Conciliar Edict of 1166 from Hagia Sophia to Suleiman’s Mausoleum Faruk Bilici and Eleni Fragaki 6. Venetian Cross Fixed on aSeljuk Candleholder: Composite Mediterraneanism at Saint Paul’s Monastery, Mount Athos Nikolaos Vryzidis and Paschalis Androudis 7. Inscribing the Christian Body in Life and Death: Tiraz Textiles with Coptic and Greek Inscriptions Arielle Winnik Monumental Legacies 8. Stone and text: Christian Architectural Spolia in Egypt during the Mamluk Period (1250–1517) Sami Luigi de Giosa 9. The Syncretism of Regal Images in Georgia: The Sculpted Program of the Church of Saint John the Baptist of Oshki (963–976) Nino Simonishvili 10. The Use of Muqarnas in the Christian Buildings of Mediaeval Anatolia and Mosul Richard McClary
Introduction: The Aesthetic Space of Interreligious Encounter: Microhistorical Case Studies from the Medieval Mediterranean Sami Luigi de Giosa and Nikolaos Vryzidis Islamo-Christian Mediterranean Trade and Its Artistic Ramifications 1. From One Edge of the Mediterranean to the Other: Prolegomena on Mamluk and Iberian Ceramics in Venetian Crete Maria Bormpoudaki 2. Reconsidering “Andalusi” Textiles in Two Christian Contexts: The San Isidoro and Bayonne Silks between Art Historical Myth and Reality Ana Cabrera-Lafuente 3. Balsam Oil of Mattariyya: Mamluk Contribution to Christian Liturgy Hani Hamza 4. Judging a Book by Its Cover: The Contribution of Islamic Bindings to the Look of the European Book Alison Ohta Rituals and Liturgies: Objects, Meaning, and Decoration 5. Counter-propaganda and Talismanic Power: The Conciliar Edict of 1166 from Hagia Sophia to Suleiman’s Mausoleum Faruk Bilici and Eleni Fragaki 6. Venetian Cross Fixed on aSeljuk Candleholder: Composite Mediterraneanism at Saint Paul’s Monastery, Mount Athos Nikolaos Vryzidis and Paschalis Androudis 7. Inscribing the Christian Body in Life and Death: Tiraz Textiles with Coptic and Greek Inscriptions Arielle Winnik Monumental Legacies 8. Stone and text: Christian Architectural Spolia in Egypt during the Mamluk Period (1250–1517) Sami Luigi de Giosa 9. The Syncretism of Regal Images in Georgia: The Sculpted Program of the Church of Saint John the Baptist of Oshki (963–976) Nino Simonishvili 10. The Use of Muqarnas in the Christian Buildings of Mediaeval Anatolia and Mosul Richard McClary
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