scholarly journals Manuscript Illustrations of the Uttaradhyayana Sutra

1942 ◽  
Vol 46 (2) ◽  
pp. 311
Author(s):  
Ananda K. Coomaraswamy ◽  
W. Norman Brown
Keyword(s):  
Manuscript Illustrations

scholarly journals HERALDRY AND THE ARCHITECTURAL IMAGINATION: JOHN CARTER’S VISUALISATION OFTHE CASTLE OF OTRANTO

2016 ◽  
Vol 96 ◽  
pp. 291-313 ◽  
Author(s):  
Peter Lindfield
Keyword(s):  
Large Scale ◽  
The Other ◽  
Horace Walpole ◽  
Gothic Revival ◽  
Other Hand ◽  
Manuscript Illustrations ◽  
The Relationship ◽  
Critical Literature ◽  
Architectural Imagination

Horace Walpole (1717–97) is well known for two important Gothic projects: his villa, Strawberry Hill, Twickenham (1747/8–80), and his novel,The Castle of Otranto(1764). These two manifestations of Walpole’s ‘Gothic imagination’ are frequently linked in critical literature on the Gothic Revival and medievalism more broadly; the relationship between Strawberry Hill,Otrantoand manuscript illustrations visualisingOtranto’s narrative has, on the other hand, received far less attention. This paper brings together a number of important and hitherto overlooked sources that help address this imbalance. In particular, it examines two large-scale watercolours by John Carter (1748–1817) that narrate some ofOtranto’s pivotal scenes, allowing critically overlooked subtleties in their iconographies to emerge. The work establishes how Carter’s pre-existing interests – in particular, in Gothic architectural forms and heraldry – are harnessed to govern his representations ofOtranto. These paintings, together with Carter’s other illustrations, demonstrate Walpole’s authorship ofOtranto, expressed through codes hidden in plain sight. Unlike the frequently touted link between Strawberry Hill andOtrantoin secondary criticism, Carter’s illustrations, the argument reveals, do not explicitly make this connection.

Byzantine Agricultural Implements: The Evidence of Medieval Illustrations of Hesiod's Works and Days

1986 ◽  
Vol 81 ◽  
pp. 45-80 ◽  
Author(s):  
Anthony Bryer
Keyword(s):  
Eighth Century ◽  
Archaeological Evidence ◽  
Mediterranean Studies ◽  
Manuscript Illustrations ◽  
And Function

It is argued that Byzantine manuscript illustrations to Hesiod's eighth-century BC poem offer realistic evidence for the appearance and function of common Medieval agricultural implements, of which there is little other record. Fourteen manuscripts illustrated from the tenth to sixteenth centuries AD are analysed in the Table on p. 67. In them seventeen implements not named in the text may be regarded as contemporary Medieval pictures, which may also be true of the six implements which Hesiod describes, for traditional textual or arthistorical rules hardly apply to these rustic drawings. Using the methodology of K. D. White's studies of Roman farming, other pictorial, literary, documentary, and the scanty archaeological evidence, together with that of survivals, is applied to these twenty-three implements alone. Conclusions are that the Byzantines may have introduced an eliktrin spade-fork, and possibly a wheel structure, but the article must be read within the context of Roman, Western Medieval and later Mediterranean studies of technology and means of peasant production, for which it offers only a first step in the largely unexplored Byzantine field.

scholarly journals Manuscript Illustrations of the Uttarādhyayana Sūtra

1942 ◽  
Vol 62 (1) ◽  
pp. 77
Author(s):  
Alvan C. Eastman ◽  
W. Norman Brown
Keyword(s):  
Manuscript Illustrations

scholarly journals Beowulf and Archaeology: Megaliths Imagined and Encountered in Early Medieval Europe

2015 ◽  
Author(s):  
Howard Williams
Keyword(s):  
Material Culture ◽  
Seventh Century ◽  
Anglo Saxon ◽  
Early Medieval ◽  
Archaeological Evidence ◽  
Medieval Europe ◽  
Manuscript Illustrations ◽  
Ancient Monuments ◽  
Social Memories

Since the mid nineteenth century AD, the poem Beowulf has long been a quarry for inspiration, analogy and insight for those exploring the archaeology of Early Medieval Britain and Scandinavia (Cramp 1957; Hills 1997; Webster 1998; Owen-Crocker 2000). The dialogue of archaeology and poem has been employed to explore a range of Early Medieval social practices and structures: the production and circulation of weapons and armour through inheritance and gift-giving, the role of vessels and feasting practices, hall-building and ceremony, the hoarding of treasure, and various dimensions of funerary practice including barrow-burial, boat-burial, and cremation. In discussing many of these practices, scholars have recently pointed to the sense of the past in the poem as a practice-orientated form of social memory. Synergies have been identified between heroic poetry and the ceremonial use of material culture, monuments, architectures, and landscapes identified in poetry and archaeological evidence as distinct but related technologies of remembrance within the hierarchical Christian Anglo-Saxon kingdoms that emerge during the mid to late seventh century AD (Williams 1998; 2006; 2011a; 2011b; Owen-Crocker 2000; Semple 2013). In this fashion, the assertions of legitimacy and identities by Early Medieval elites, including their claims to land, power and people, were performed through the ritualized reuse, appropriation and naming of ancient monuments and their deployment within rituals and oral performances, including poetry (Semple 2013; see also Price 2010). The locations and immediate environs of major later Anglo-Saxon churches and elite residences, and the maritime and land routes connecting them, provided the dramaturgical and ritualized settings and media by which social memories were transmitted and reproduced. Landmarks such as ancient monuments were actively integrated through reuse for a variety of functions from burial to assembly (Williams 2006; Reynolds and Langlands 2011; Semple 2013). In particular, Sarah Semple’s (2013) important interdisciplinary survey and analysis of Anglo-Saxon perceptions and reuse of prehistoric monuments from the fifth to the eleventh centuries AD, identifies the variegated and shifting perceptions of prehistoric monuments revealed by later Anglo-Saxon texts, manuscript illustrations, place-names and archaeological evidence (see also Semple 1998; 2004).

The Shrine of St. Menas in the Maryût

1949 ◽  
Vol 17 ◽  
pp. 26-71
Author(s):  
J. B. Ward Perkins
Keyword(s):  
Contemporary Art ◽  
The Other ◽  
Upper Egypt ◽  
Christian Art ◽  
Other Hand ◽  
Manuscript Illustrations ◽  
The Mediterranean ◽  
Architectural Ornament

It is one of the saddest losses of history that of Antioch and Alexandria, two of the great early centres of Christian art and learning, hardly a stone should now be standing above ground. Of the two, Alexandria is in the worse case. Antioch can at least boast the magnificent series of mosaics unearthed before the war by the Princeton Expedition. At Alexandria on the other hand there is little chance that excavation can ever reveal any substantial remains of the classical city, which was ruthlessly destroyed in the last century to make way for the expansion of its modern successor; and whereas in the case of the minor arts the contribution of Alexandria to the contemporary art of the Mediterranean, whether in its relation to the Byzantine world or to the nascent Coptic art of Upper Egypt, can at least be usefully discussed in the light of surviving ivories, textiles, manuscript illustrations, and the like, in the field of architecture and of architectural ornament any such enquiry is hampered by a vacuum at the heart of the problem. The questions so well defined by Kitzinger in regard to Coptic sculpture are capable of wider application.

Journal Expectations: How to Publish

1995 ◽  
Vol 112 (5) ◽  
pp. P153-P154
Author(s):  
J. Gail Neely ◽  
Carol Trumbold
Keyword(s):  
Educational Objectives ◽  
Manuscript Illustrations

Educational objectives: To formulate an organized plan for the approach, assembly, and choice of presentation of a clinical manuscript after an annotated outline and to complete a manuscript, illustrations, and important technicalities with precision and efficiency after written instructions highlighting crucial components of structure and content.

scholarly journals Portraiture in Indian Miniature Paintings

2018 ◽  
Vol 2 (1) ◽  
Author(s):  
Sourabh Ghosh ◽  
Keyword(s):  
Fine Art ◽  
Cultural Significance ◽  
Religious Literature ◽  
Mughal Empire ◽  
Northern India ◽  
Manuscript Illustrations ◽  
Miniature Painting ◽  
Military Campaigns ◽  
The Hill ◽  
Culture Tradition

The art of miniature painting in India traces its origin to the Buddhist manuscript Illustrations of the Pala period in Nepal and Eastern part of India in the 8th to 11th century. The Jain manuscripts in Gujrat and Rajasthan, as early as 11th century, also point towards a practice of such illustrations. These manuscripts, apart from portraying religious literature, also covered wide ranging topics such as medicine, astrology, etc. They were profusely illustrated, and were mostly inscribed on palm leaves. Apart from serving as important treatises, they were widely used as gifts during royal marriages and accessions. However, the Mughal Rule in India brought a certain degree of sophistication, refinement and finesse to this form of art. Under successive Mughal Rulers, the art of miniature painting reached its zenith. While Babur and Humayun, who were great lovers of art and literature, could not build proper ateliers during their reigns due to their frequent military campaigns and conflicts, they were responsible for bringing to India two versatile artists, Abdus Samad and Mir Sayed Ali from the Safavid Persian Court-whose works would have significant impact on the art of miniature paintings in the Mughal Courts. Humayun’s successors Akbar, Jahangir and Shah Jahan built some of the most significant ateliers under their rules, and some of the preeminent miniature artists like Basavan, Manohar, Bichitar, Ustad Mansur, Balchand and Murad flourished under their patronage. Some very significant works like Baburnama, Akbarnama, Razamnama, etc. were also commissioned by the early Mughal Emperors. With the decline of the Mughal Empire, the miniature painting scene shifted to the Rajput Courts in Rajasthan and the Hill States in Northern India. Various important Schools of painting –like the Mewar, Marwar, Jaipur, Hadoti, Kangra, Basholi, and Garhwal – Schools, to name a few, started flourishing under their respective rulers. While the Mughal influence still prevailed, yet each school had its own distinctive characteristic and feature. The subjects of these paintings and manuscripts ranged from religious literature, court scenes, royal processions, flora and fauna, textiles, jewelry to elaborate equestrian and hunting scenes. However, the most riveting and captivating depictions were in the form of elaborate and brilliant portraits of the rulers, their nobles and courtiers, which not only throw light on their magnificent reigns, but also open a window to the culture, tradition and practices of those times. This essay makes an attempt to study the fine art of portraiture in miniature paintings in the various Mughal, Provincial and Rajput Courts to bring out their historical and cultural significance.

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