Study of the migration of motifs, materials, personnel, and finished objects in Eurasia has a long pedigree in medieval art history, and the broadening attention to material culture as an alternative to purely textually based historical accounts has been integral to reshaping the conception of an interconnected medieval world. The growth in debates concerning the concept of "the global" throughout art history, and the more complex picture of Eurasian and African societies and material culture that has emerged in the past two decades has highlighted challenges to traditional art historical narratives, specializations, and scholarly training. And while these problems affect Byzantine, Islamic, Western medieval, and East Asian art history, there has been little conversation among scholars in these fields. A cutting-edge work on global medieval art, this volume offers a starting point for conversations among scholars working on multiple cultural regions.
Author(s): Christina Normore, Carol Symes
Series: The Medieval Globe Books, 3
Publisher: Arc Humanities Press
Year: 2018
Language: English
Pages: 260
City: Amsterdam
Contents
Editor’s Introduction, Christina Normore
A Camel’s Pace: A Cautionary Global, Bonnie Cheng
The Fatimid Holy City: Rebuilding Jerusalem in the Eleventh Century, Jennifer Pruitt
Worldlessness in Byzantium and Beyond: Reassessing the Visual Networks of Barlaam and Ioasaph, Cecily J. Hilsdale
Exchange of Sacrifices: West Africa in the Medieval World of Goods, Sarah M. Guerin
The Beryozovo Cup: A Byzantine Object at the Crossroads of Twelfth-Century Eurasia, Alicia Walker
Mobile Meanings: A Global Approach to a Dagger from Greater Syria, Heather Badamo
Global Medieval at the “End of the Silk Road,” circa 756 CE: The Shozo-In Collection in Japan, Jun Hu
Response: Medievalists and Early Modernists—A World Divided?, Jessica Heating and Lia Markey
Index
