A History of the Crusades, IV: The Art and Architecture of the Crusader States

1979 ◽  
Vol 61 (4) ◽  
pp. 636 ◽  
Author(s):  
Otto Demus ◽  
Kenneth M. Setton ◽  
Harry W. Hazard
Keyword(s):  
History Of ◽  
Crusader States ◽  
Art And Architecture

scholarly journals Women in the Crusader States: The Queens of Jerusalem (1100-1190)

1978 ◽  
Vol 1 ◽  
pp. 143-174 ◽  
Author(s):  
Bernard Hamilton
Keyword(s):  
Survival Rate ◽  
General Rule ◽  
The West ◽  
Active Service ◽  
History Of ◽  
Crusader States ◽  
Military Campaign

The important part played by women in the history of the crusader states has been obscured by their exclusion from the battle-field. Since scarcely a year passed in the Frankish east which was free from some major military campaign it is natural that the interest of historians should have centred on the men responsible for the defence of the kingdom. Yet in any society at war considerable power has to be delegated to women while their menfolk are on active service, and the crusader states were no exception to this general rule. Moreover, because the survival rate among girl-children born to Frankish settlers was higher than that among boys, women often provided continuity to the society of Outremer, by inheriting their fathers’ fiefs and transmitting them to husbands many of whom came from the west.

Le fonti, i metodi e le narrazioni della storia della videoarte in Italia negli anni Settanta

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Lisa Parola
Keyword(s):  
Comparative Study ◽  
Contemporary Art ◽  
Narrative Structure ◽  
Video Art ◽  
Wide Range ◽  
History Of ◽  
Selection For ◽  
The Many ◽  
Art And Architecture ◽  
Selection Of

This essay derives from the primary need to make order between direct and indirect sources available for the reconstruction of the history of video art in Italy in the seventies. In fact, during the researches for the Ph.D. thesis it became clear that in most cases it is difficult to define, in terms of facts, which of the different historiographies should be taken into consideration to deepen the study of video art in Italy. Beyond legitimate differences of perspectives and methods, historiographical narratives all share similar issues and narrative structure. The first intention of the essay is, therefore, to compare the different historiographic narratives on Italian video art of the seventies, verifying their genealogy, the sources used and the accuracy of the narrated facts. For the selection of the corpus, it was decided to analyze in particular monographic volumes dealing with the history of the origins of video art in Italy. The aim was, in fact, to get a wide range of types of "narrations", as in the case of contemporary art and architecture magazines, which are examined in the second part of the essay. After the selection, for an analytical and comparative study of the various historiography, the essay focuses only on the Terza Biennale Internazionale della Giovane Pittura. Gennaio ’70. Comportamenti, oggetti e mediazioni (Third International Biennial of Young Painting. January '70. Behaviors, Objects and Mediations, 1970, Bologna), the exhibition which - after Lucio Fontana's pioneering experiments - is said to be the first sign of the arrival of videotape in Italy (called at the time videorecording), curated by Renato Barilli, Tommaso Trini, Andrea Emiliani and Maurizio Calvesi. The narration given so far of this exhibition appeared more mythological than historical and could be compared structurally to that of the many numerous beginnings that historiographyies on international video art identify as ‘first’ and ‘generative’. In the first part of the essay the 'facts' related to Gennaio ’70, as narrated by historiography on video art, are compared. In the second part the survey is carried out through some of the direct sources identified during the research, with the aim of answering to questions raised by the comparison between historiographies. Concluding, it is important to underline that the tapes containing the videos transmitted have not been found and seem to have disappeared since the ending of the exhibition. Nevertheless, the deepening of the works and documentation transmitted during the exhibition is possible thanks to other types of sources which give us many valuable information regarding video techniques and practices at the beginning of 1970 in Italy.

The “German Fountain” in Istanbul: Object of Transfer in the Age of Historicism and Diplomacy

Der Islam ◽  
2018 ◽  
Vol 95 (2) ◽  
pp. 549-595
Author(s):  
Lorenz Korn
Keyword(s):  
Ottoman Empire ◽  
Present Article ◽  
Urban History ◽  
Foreign Politics ◽  
History Of ◽  
Cultural Negotiations ◽  
Art And Architecture

Abstract The “German Fountain” on the Hippodrome in Istanbul, commissioned by the German Emperor Wilhelm II, has been perceived (and sometimes ridiculed) as a marginal by-product of imperialism and historicism. However, the history of its origins, construction and inauguration highlights significant aspects of German-Ottoman relations in the Hamidian period. The fountain is an example of the role that art and architecture played in these relations. The history of its planning indicates in which way the urban history of Istanbul was perceived and how a new monument was inserted, under the particular conditions of patronage by a foreign monarch. For the present article, German archival sources have been utilized to reconstruct the events and to interpret underlying attitudes. These sources elucidate the process of veritable trans-cultural negotiations, in which numerous partners with differing agendas participated. Besides, an art historical glance at the design of the fountain permits conclusions on choices that were made by the patron and the architect, significant for the understanding of the monument by its contemporaries. The particular conditions of the Ottoman Empire struggling for survival vis à vis European powers, and German foreign politics, become visible in the location and style of the fountain as well as in the protocol of its inauguration.

scholarly journals Curatorial Practice as Production of Visual and Spatial Knowledge: Panelists Respond

2015 ◽  
Vol 4 ◽  
pp. 158-163
Author(s):  
Alison Langmead ◽  
Dan Byers ◽  
Cynthia Morton
Keyword(s):  
Graduate Students ◽  
Information Science ◽  
Spatial Knowledge ◽  
University Of Pittsburgh ◽  
Visual Knowledge ◽  
Curatorial Practice ◽  
History Of Art ◽  
History Of ◽  
The University ◽  
Art And Architecture

Three participants in the panel “Curatorial Practice as Production of Visual and Spatial Knowledge” reflect upon the ideas raised in their discussion about curating, both in their respective fields and as a general practice. The panel was a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3–5, 2014. A transcription of the panel is available in this issue. 

Reflections on Thirty Years of Muqarnas

2014 ◽  
Vol 30 (1) ◽  
pp. 1-12 ◽  
Author(s):  
Gülru Necipoğlu
Keyword(s):  
Board Members ◽  
Islamic Art ◽  
Future Directions ◽  
The Past ◽  
Advisory Boards ◽  
Current State ◽  
Thirtieth Anniversary ◽  
History Of ◽  
Art And Architecture ◽  
State Of The Field

In this volume marking the thirtieth anniversary of Muqarnas, the Editor reflects on the evolution of the journal over the years. To that end, the members of the Editorial and Advisory Boards were sent a questionnaire, asking them to comment on the contributions of Muqarnas and its Supplements series to the field of Islamic art and architecture studies over the past three decades, and to provide suggestions for future directions. Their observations, thoughts, and hopes for Muqarnas have been anonymously incorporated into this essay, which, in conversation with their comments, looks back on the history of the publication and offers some possibilities for the path it might take going forward.
The goal here is neither to assess the historiography nor to examine the current state of the field thirty years after the opening essay of volume 1. Instead, the focus is on the development and impact of both Muqarnas and the Supplements series in a highly specialized field with relatively few and short-lived or sporadic journals, before turning to the successes and shortcomings of these publications, as outlined by some of the board members. 


scholarly journals BEAUTY AND MYSTERY OF GANDHARA ART

2018 ◽  
Vol 3 (3) ◽  
pp. 1-12
Author(s):  
Shahid Ahmad Rajput
Keyword(s):  
Short History ◽  
Research Journal ◽  
Visual Evidence ◽  
History Of ◽  
The Creation ◽  
Art And Architecture

  This paper is a short history to establish the location, era and the main actors involved in the creation of a civilization what is generally known as Gandhara. It also includes a brief history of the Art and Architecture of Gandhara as the main feature and the beauty and mystery associated therein. Limitation of the length of paper will keep our discussion on three main centers as below. Necessary visual evidence is also included to justify the Beauty and the Mystery attached to the art of Gandhara for which this paper is initiated. Fact of the matter is that hundreds of books are written on Gandhara Civilization but this point “Beauty and Mystery of Gandhara” has hardly been addressed. This paper is therefore an attempt to fill the gap long felt by the author and last but not the least this paper is dedicated to the love and affection to the artwork of the monks who produced the Master Pieces of Gandhara, both in Stone and Stucco. The analysis is made according to the existing literature and author's own experience and interpretation. Researcher: A Research Journal of Culture and Society Vol. 3, No. 3, January 2018, Page: 1-12

Sign in / Sign up

Export Citation Format

Share Document