medieval-religion: Scholarly discussions of medieval religion and culture
From: Dr Jim Bugslag <[log in to unmask]>
> Christopher,
> The situation with Crusader sculpture is very different from that of
Crusader painting, both icons and illuminated manuscripts.
if you say so.
butbut the Basic Principle is the same: figural art is a product of an
essentially conceptual, "visionary" process --as Alan of Lille says (more or
less), "the artist imagines the figure in his mind before he realizes it in
the world."
i remain unconvinced --and have yet to see any evidence to the contrary-- that
an artist (sculptor, painter, whatever) trained in the West could be
significantly "influenced" **in his basic figure style** by simply being in
the presence of (or even being surrounded by) Byzantine art works --as may
have been the case in the "Crusader Kingdom."
at least that premise would apply to the pre-13th c. situation.
i note (thanks to some digging i did after our exchange yesterday) that
Jaroslav Folda seems to have been occupied in recent years with the problem of
the transmission of "Byzantine" style to the west (esp. Italy) in the 13th &
subsequent centuries, e.g., the technique of "chrysography," both in the
visualization and execution of paintings,
http://research.unc.edu/endeavors/spr2006/feature_04.php
c
> Christopher Crockett wrote:
> > medieval-religion: Scholarly discussions of medieval religion and culture
> >
> > From: Dr Jim Bugslag <[log in to unmask]>
> >
> >
> >>> the Crusaders produced icons strongly inspired by Byzantine ones,
largely
> >>>
> > it is thought in Acre.
> >
> >
> >> A good starting point is Jaroslav Folda, "Crusader Art," in The Glory of
> >>
> > Byzantium, ed. H. Evans and W. Wixom, exh. cat. (New York, 1997), pp.
388-401
> > (or any of Folda's other publications).
> >
> >
> > i rather thought that's whom you had in mind.
> >
> > i've found his (admittedly, peripheral) statement that the style of the
> > Nazareth sculptures demonstrates some "Byzantine influence" to be as
> > interesting as it is problematical, from a theoretical point of view.
> >
> > this essay by Folda sounds interesting, but is not available to me:
> >
> > “Crusader art, a multicultural phenomenon: historiographical
reflections,”
> > in Michel Balard, ed., Autour de la Première Croisade: Actes du Colloque
de
> > la Society for the Study of the Crusades and the Latin East
(Clermont-Ferrand,
> > 22-25 juin 1995), (Byzantina Sorbonensia, 14), (Paris: Publications de la
> > Sorbonnne, 1996), pp. 609-615.
> >
> >
> > though it may merely be a shorter version of his:
> >
> > “Crusader art in the twelfth century: reflections on Christian
> > multiculturalism in the Levant,” Mediterranean Historical Review, X,
1995,
> > pp. 80-91.
> >
> >
> >
> >> I believe there is also a good section on Crusader icons in Robert S.
Nelson
> >>
> > and Kristen M. Collins, Holy Image, Hallowed Ground: Icons from Sinai
(Los
> > Angeles: J. Paul Getty Museum, 2006).
> >
> >
> > mmmmm... not immediately visible among the Contents:
> >
> > Where God walked and monks pray / Robert S. Nelson --
> > Early icons of the Holy Monastery of Saint Catherine at Sinai / Thomas F.
> > Mathews --
> > The Sinai Codex Theodosianus: manuscript as icon / Father Justin Sinaites
--
> > Christian pilgrimage to Sinai until the late fifteenth century / David
Jacoby
> >
>
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