Emblems of Empire: Selections from the Mactaggart Art Collection publishes the textiles and paintings related to the Qing (1644-1911) imperial court, one of the unique strengths of the collection.
Civic virtues were central to early modern Nürnberg’s visual culture. These essays explore Nürnberg as a location from which to study the intersection of art and power. The imperial city was awash in emblems, and they informed most aspects of everyday life. The intent of this volume is to focus new attention on the town hall emblems, while simultaneously expanding the purview of emblem studies, moving from strict iconological approaches to collaborations across methodologies and disciplines.
9 x 12, 88 b&w photos, 104 pgs of color drawings & organizational chartsSurely some of the most colorful warplanes ever to see active service, the aircraft of the Imperial Japanese Army Air Force carried the samurai regard for brightly colored armor and equipment into the 20th century. The heraldic traditions of the warriors of ancient Japan found new expression as the emblems for all types of air units in the service of the Emperor. Used by flying training schools, fighter squadrons, bomber groups and, ultimately, suicide formations, all sprang from the Japanese love of symbolism and design. Some were hundreds of years old, others existed for only a few weeks or months. Each one that can be verified from photographs is illustrated here in glorious color. This title's 100 pages of full color drawings show the emblems both by unit and by aircraft type, allowing the enthusiast to rapidly identify exactly which formation a specific aircraft may have belonged to. Numerous photos illustrate the many variations of emblems and the different aircraft types which carried them. Organizational charts give Orders of Battle in different theatres of war, ranging from Manchuria, China and Burma to the Home Islands.
Emblems in the visual arts use motifs which have meanings, and in Emblems in Scotland Michael Bath, leading authority on Renaissance emblem books, shows how such symbolic motifs address major historical issues of Anglo-Scottish relations, the Reformation of the Church and the Union of the Crowns. Emblems are enigmas, and successive chapters ask for instance: Why does a late-medieval rood-screen show a jester at the Crucifixion? Why did Elizabeth I send Mary Queen of Scots tapestries showing the power of women to build a feminist City of God? Why did a presbyterian minister of Stirling decorate his manse with hieroglyphics? And why in the twentieth-century did Ian Hamilton Finlay publish a collection of Heroic Emblems?
These two volumes offer an unprecedented collection of flags, seals, and symbols used every day around the world. In today's global society it is necessary to recognize and identify not only our own symbols, but symbols from nations and territories far removed from home. Empowering readers to identify symbols in daily use all over the world, The Complete Guide to National Symbols and Emblems features an extensive collection of international symbols and cultural emblems never before compiled in such a concise and easy-to-use work. It is inclusive of all the UN member states and some of the most prominent stateless nations. This refreshing alternative to other commonly used sites blends both the political and cultural, including not only flags, national seals, and national anthems, but also foods and recipes, national heroes, sports teams, festivals, and pivotal events that figure in the formation of national identity. This versatile source will prove valuable to a wide audience, benefiting not only high school and undergraduate student researchers, but international businesses, journalists, and government offices.
How did German composers brand their music as Venetian? How did the Other fare in other languages, when Cabeza’s Relación of colonial Americas appeared in translations? How did Altdorf emblems travel to colonial America and Sweden? What does Virtue look like in a library collection? And what was Boccaccio’s Decameron doing in the Ethica section? From representations of Sophie Charlotte, the first queen in Prussia, to the Ottoman Turks, from German wedding music to Till Eulenspiegel, from the translation of Horatian Odes and encyclopedias of heraldry, these essays by leading scholars explore the transmission, translation, and organization of knowledge in early modern Germany, contributing sophisticated insights to the history of the early modern book and its contents.
Since its invention by Andrea Alciato, the emblem is inextricably connected to the natural world. Alciato and his followers drew massively their inspiration from it. For their information about nature, the emblem authors were greatly indebted to ancient natural history, the medieval bestiaries, and the 15th- and 16th-century proto-emblematics, especially the imprese. The natural world became the main topic of, for instance, Camerarius’s botanical and zoological emblem books, and also of the ‘applied’ emblematics in drawings and decorative arts. Animal emblems are frequently quoted by naturalists (Gesner, Aldrovandi). This interdisciplinary volume aims to address these multiple connections between emblematics and Natural History in the broader perspective of their underlying ideologies – scientific, artistic, literary, political and/or religious. Contributors: Alison Saunders, Anne Rolet, Marisa Bass, Bernhard Schirg, Maren Biederbick, Sabine Kalff, Christian Peters, Frederik Knegtel, Agnes Kusler, Aline Smeesters, Astrid Zenker, Tobias Bulang, Sonja Schreiner, Paul Smith, and Karl Enenkel.