This important book [...] is a helpful guide to thinking with things and teaching with things. Each entry challenges the reader to approach objects as historical actors that can speak to the changes and continuities of life in the late antique and early medieval world.― Early Medieval Europe Lavishly illustrated and engagingly written, Fifty Early Medieval Things demonstrates how to read objects in ways that make the distant past understandable and approachable. Fifty Early Medieval Things introduces readers to the material culture of late antique and early medieval Europe, north Africa, and western Asia. Ranging from Iran to Ireland and from Sweden to Tunisia, Deborah Deliyannis, Hendrik Dey, and Paolo Squatriti present fifty objects—artifacts, structures, and archaeological features—created between the fourth and eleventh centuries, an ostensibly "Dark Age" whose cultural richness and complexity is often underappreciated. Each thing introduces important themes in the social, political, cultural, religious, and economic history of the postclassical era. Some of the things, like a simple ard (plow) unearthed in Germany, illustrate changing cultural and technological horizons in the immediate aftermath of Rome's collapse; others, like the Arabic coin found in a Viking burial mound, indicate the interconnectedness of cultures in this period. Objects such as the Book of Kells and the palace-city of Anjar in present-day Jordan represent significant artistic and cultural achievements; more quotidian items (a bone comb, an oil lamp, a handful of chestnuts) belong to the material culture of everyday life. In their thing-by-thing descriptions, the authors connect each object to both specific local conditions and to the broader influences that shaped the first millennium AD, and also explore their use in modern scholarly interpretations, with suggestions for further reading.
This well-illustrated (mainly in bandw) volume was produced in conjunction with the opening of the newly refurbished galleries in the museum. The initial chapters discuss the history of collecting of early medieval objects, with two chapters on J.P. Morgan. The remaining scholarly studies discuss the small luxury and everyday metal objects that make up the exceptional collection at the Met; consideration of the archaeological context is prominent. Individual papers discuss jewelry from various locations, the Vermand treasure, the Domagnano treasure, the Vrap treasure, and an analysis of the Lindau book cover. The contributors are affiliated with academic and museum institutions in the US and Europe. Annotation copyrighted by Book News Inc., Portland, OR
Using artifacts as primary sources, this book enables students to comprehensively assess and analyze historic evidence in the context of the medieval period. This new addition to the Daily Life through Artifacts series provides not only the full benefit of a reference work with its comprehensive explanations and primary sources, but also supplies images of the objects, bringing a particular aspect of the medieval world to life. Each entry in Artifacts from Medieval Europe explains and expands upon the cultural significance of the artifact depicted. Artifacts are divided into such thematic categories as domestic life, religion, and transportation. Considered collectively, the various artifacts provide a composite look at daily life in the Middle Ages. Unlike medieval history encyclopedias that feature brief reference entries, this book uses artifacts to examine major aspects of daily life. Each artifact entry features an introduction, a description, an examination of its contextual significance, and a list of further resources. This approach trains students how to best analyze primary sources. General readers with an interest in history will also benefit from this approach to learning that enables a more complete appreciation of past events and circumstances.
This educational resource packet covers more than 1200 years of medieval art from western Europe and Byzantium, as represented by objects in the collection of The Metropolitan Museum of Art. Among the contents of this resource are: an overview of medieval art and the period; a collection of aspects of medieval life, including knighthood, monasticism, pilgrimage, and pleasures and pastimes; information on materials and techniques medieval artists used; maps; a timeline; a bibliography; and a selection of useful resources, including a list of significant collections of medieval art in the U.S. and Canada and a guide to relevant Web sites. Tote box includes a binder book containing background information, lesson plans, timeline, glossary, bibliography, suggested additional resources, and 35 slides, as well as two posters and a 2 CD-ROMs.
In the late Middle Ages, Christian conversion could wash a black person's skin white—or at least that is what happens when a black sultan converts to Christianity in the English romance King of Tars. In Black Metaphors, Cord J. Whitaker examines the rhetorical and theological moves through which blackness and whiteness became metaphors for sin and purity in the English and European Middle Ages—metaphors that guided the development of notions of race in the centuries that followed. From a modern perspective, moments like the sultan's transformation present blackness and whiteness as opposites in which each condition is forever marked as a negative or positive attribute; medieval readers were instead encouraged to remember that things that are ostensibly and strikingly different are not so separate after all, but mutually construct one another. Indeed, Whitaker observes, for medieval scholars and writers, blackness and whiteness, and the sin and salvation they represent, were held in tension, forming a unified whole. Whitaker asks not so much whether race mattered to the Middle Ages as how the Middle Ages matters to the study of race in our fraught times. Looking to the treatment of color and difference in works of rhetoric such as John of Garland's Synonyma, as well as in a range of vernacular theological and imaginative texts, including Robert Manning's Handlyng Synne, and such lesser known romances as The Turke and Sir Gawain, he illuminates the process by which one interpretation among many became established as the truth, and demonstrates how modern movements—from Black Lives Matter to the alt-right—are animated by the medieval origins of the black-white divide.
The extraordinary array of images included in this volume reveals the full and rich history of the Middle Ages. Exploring material objects from the European, Byzantine and Islamic worlds, the book casts a new light on the cultures that formed them, each culture illuminated by its treasures. The objects are divided among four topics: The Holy and the Faithful; The Sinful and the Spectral; Daily Life and Its Fictions, and Death and Its Aftermath. Each section is organized chronologically, and every object is accompanied by a penetrating essay that focuses on its visual and cultural significance within the wider context in which the object was made and used. Spot maps add yet another way to visualize and consider the significance of the objects and the history that they reveal. Lavishly illustrated, this is an appealing and original guide to the cultural history of the Middle Ages.
The collection of essays gathered in this volume investigates the interaction between art and relics as a distinct historical relevance for devotional art of Early Modernity and the Renaissance. Recent studies in the material culture of artifacts from these periods have drawn increasing attention to a sense of material tangibility derived from relics. Putting that conclusion into perspective, this edited collection focuses on the aesthetic meaning generated by a specific material culture of sanctity - one in which artists based their practice upon the nature, variety, and history of relics. Works of art that contained relics shared in the aura of the relics, defining themselves as non-substitutable signs, or signs that preserved the physical relationship to the immutable nature and origin of relics. As studied in this volume, funerary monuments, chapel decorations, altarpieces, liturgical objects, and sacred sites yielded an unordinary aesthetic meaning, one that captured and at the same time transmitted the histories linked to a relic. Each chapter emphasizes the specific history contained within works of art premised upon relics and thus forever embedded in the relics' status as sacred originals..
A fully updated and comprehensive companion to Romanesque and Gothic art history This definitive reference brings together cutting-edge scholarship devoted to the Romanesque and Gothic traditions in Northern Europe and provides a clear analytical survey of what is happening in this major area of Western art history. The volume comprises original theoretical, historical, and historiographic essays written by renowned and emergent scholars who discuss the vibrancy of medieval art from both thematic and sub-disciplinary perspectives. Part of the Blackwell Companions to Art History, A Companion to Medieval Art, Second Edition features an international and ambitious range of contributions covering reception, formalism, Gregory the Great, pilgrimage art, gender, patronage, marginalized images, the concept of spolia, manuscript illumination, stained glass, Cistercian architecture, art of the crusader states, and more. Newly revised edition of a highly successful companion, including 11 new articles Comprehensive coverage ranging from vision, materiality, and the artist through to architecture, sculpture, and painting Contains full-color illustrations throughout, plus notes on the book’s many distinguished contributors A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Second Edition is an exciting and varied study that provides essential reading for students and teachers of Medieval art.