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Islam appeared and illuminated the world with its light and spread gradually until it was formed the greatest empire in history whose geographical borders extended from China in the east to Spain in the west. From Cyrenaica, Tunisia, Algeria and Marrakesh to the Strait of Gibraltar 22 AH: 91 AH, and Andalusia was also conquered around the year 92 AH, then the country beyond the river (Sindh, Bukhari, Khwarizm, Samarkand, and Kashgar) was conquered 44 AH, 96 AH. And we can notice without effort or trouble that the Islamic countries, which folded under one unified Islamic civilization with its strong and individual pillars and characteristics, arose from the mixing of different nations and peoples with ancient cultural legacies, and these legacies were harmonized with the teachings and spirit of Islam, thus forming the foundations for us of a new civilization. Among the pillars and landmarks of civilization are the arts, and their characteristics vary according to the geographical regions of the peoples and their culture, but this differentiation and difference was able to be the wealth of the richest Islamic civilization, and this is evident in the extent of the sophistication of the arts and their multiplicity in the shadow of this civilization. Islamic art was closely linked to the Islamic faith. . Due to the long period of the Islamic state, many art schools were formed.. The art centers of each school also spread and multiplied due to the expansion of the Islamic state. Technical schools can be summarized in four main schools: 1- (The Arab School) 2- (Iranian) 3- (Indo-Mongol) 4- (Ottoman Turkish) The researcher aims to shed light on the development of drawing animals and birds in Islamic miniatures in an abstract or semi-abstract style since its early beginnings until now, and to study the special aesthetic values and an attempt to highlight the philosophical essence and its impact on its development.

This article investigates how science and technology, especially nuclear energy and space travel, materialised as concrete things and were embedded into everyday life through exhibitions and three-dimensional experiences in Japan during the cold war. In the historical and geopolitical context of Japan in the late 1950s and 1960s, the United States (US)–Japan alliance required that American propaganda agencies such as the US Information Service (USIS) in Japan operate effectively. To this end, science and technology were embodied as specific materials by being reproduced and circulated as tactile objects through exhibitions and displayable models, which formed a desirable environment that involved not only aesthetically attractive designs but also the implicative meanings of the geopolitical dynamics of the time. In particular, the article scrutinises how several exhibitions displayed new materiality in the form of miniatures and models under a newly proposed and constructed techno-environment. It does so by analysing records of exhibitions, expositions, and three-dimensional models that were displayed in Japan in the late 1950s and 1960s. [ABSTRACT FROM AUTHOR]

The lavishly illuminated Prayer Book of Mary of Guelders (Berlin, SBB-PK, Ms. germ. qu. 42) was written in 1415 by Helmig die Lewe in the monastery of Marienborn near Arnhem. During the second half of the 19th cent. this manuscript gradually became known to historians of art in Germany and to church historians in the Netherlands. Its appreciation until c. 1900 depended on the point of view of its observers as well as on the gradual development of an art-historical vocabulary and the introduction of high-quality reproductions in scholarly publications. [ABSTRACT FROM AUTHOR]

This study examines theological aspects of a particular group of illuminated Renaissance manuscripts, known as “Chronicles in Pictures”. Miniatures in this codex group, stored in different museums, private collections and libraries date back to the lost “Uomini famosi” mural in Giordano Orsini’s palace in Rome (1432, attributed to Masolino da Panicale). Following the fresco cycle of Sala Theatri, the world history was represented through images of “famous people” from different times. This collection of figures formed a distinctive view of a “universal chronicle”. The article explores characteristic features of the Crespi Chronicle, the Cockerell Chronicle and their later copies, and focuses on the construction of the narratives and on the characterization of individual images. Particular attention is paid to textual sources of the tradition to present universal history as a realization of God’s plan of salvation. The visual narrative begins with a symbolic representation of the creation of the world through the symbols of four primary elements, then traces the periodization of history into Six Ages, widely used in the imagery of the manuscripts. The paper further discusses some peculiar interpretations of biblical imagery, including figures of saints and church fathers. A special place in the artistic language of “Chronicles in Pictures” was occupied by attributes and gestures, which helped viewers to appreciate main semantic lines and contexts of the narrative. Желание осмыслить историю как общий процесс, объединяющий судьбы различных народов, отражено во множестве различных по содержанию, способу повествования и объёму текстов от поздней Античности и раннего Средневековья до эпохи Возрождения. Общей для создания западноевропейских «универсальных хроник» стала провиденциальная концепция бытия человечества как истории его спасения Творцом. Своеобразным способом визуализации частной версии всемирной истории, показанной в образах, стали манускрипты «Хроник в картинах», история которых началась с копирования в миниатюрах изображений фрескового цикла, созданного ок. 1432 г. в римском дворце кардинала Джордано Орсини. Статья посвящена анализу теологической основы программы «истории в лицах», включавшей свыше 300 фигур. В тексте уделено внимание принятой в изображениях манускриптов концепции разделения истории на шесть эпох, особенностям выбора и трактовки ветхозаветных и евангельских образов, фигур святых и деятелей Церкви. Иконографические особенности изображения ключевых для христианской картины мира фигур рассматриваются на примерах рисунков «Хроники Креспи» и близких ей памятников.

The article explores legal medieval iconography in its inextricable connection with the religious ideas of the time and ecclesiastical settings reflected in the canon law, theology, and hagiography. The first steps in this direction were taken only in the beginning of the 21st century, even though the iconic turn in historical research has been discussed for decades. Nevertheless, recent publications on legal medieval iconography still come from the pen of art historians, philologists, or literary critics, but not legal historians. As a result, the analysis of the content of these images is often replaced by mere descriptions. The author offers quite a different approach. Instead of studying miniatures and marginalia only as illustrations to the text to which they are formally attached, she attempts to relate the content of these images with medieval religious ideas. Such a turn of study necessitates references to ecclesiastical texts, and in each individual case, as the author accentuates, it requires a distinctly specific source. Thus, the analysis of the miniature from the “Coutumes de Toulouse” (end of the 13th c.) requires the reference to the Decretum of Gratian and the Liber sextus of Boniface VIII, according to which the artist interpreted the degradation of clerics. The marginalia from the “Coutumes de Bordeaux” (1438), which illustrates the death sentence imposed on thieves, recalls the doctrine of atonement developed by Anselm of Canterbury. The image of the Virgin Mary in the scene of fox Renard’s hanging from the Smithfield decretals (second half of the 14th c.) refers to the ideas of the parasudic procedure liberatus a suspendio, repeatedly described in Marian hagiography. The treatise of French theologian Jean Gerson “Requête pour les condamnés à mort” (end of the 14th c.) should be considered as a starting point for changing the iconography of the death penalty in the next century. In general, as the author concludes, the comparison of medieval legal images with the works of canonists, theologians and hagiographic writings allows not only to understand the deeper meaning inherent in miniatures, but also to clarify the dating of manuscripts, the principles of the artists’ work and their relations with clients. Статья посвящена проблеме современного изучения правовой средневековой иконографии. Автор отмечает, что первые шаги в этом направлении были сделаны лишь с началом XXI века, несмотря на то, что об иконографическом повороте в исторических исследованиях говорится на протяжении многих десятилетий и упоминается он уже в трудах Якоба Буркхардта, Аби Варбурга и Эрвина Панофского. Тем не менее, публикации последних лет, в которых рассматриваются иллюстрации правового содержания из средневековых юридических и иных кодексов, до сих пор выходят из-под пера искусствоведов, филологов или литературоведов, но отнюдь не историков права. Как следствие, во многих случаях анализ содержания данных изображений подменяется их описательностью. Автор статьи предлагает свой подход к данному материалу и настаивает на необходимости отказа от его изучения лишь в качестве иллюстраций к тексту того или иного письменного источника, к которому он формально прилагается. Один из вариантов изучения средневековых миниатюр и маргиналий видится автору в попытке связать их содержание с современными им религиозными представлениями людей Средневековья, отражение которых находится в сводах канонического права, авторских трактатах, популярной житийной литературе. В статье последовательно рассматривается несколько миниатюр и маргиналий, взятых как из правовых кодексов, так и из хронистики. Их сопоставление с трудами канонистов (Грациана и Бонифация VIII), теологов (Ансельма Кентерберийского и Жана Жерсона), агиографических сочинений (прежде всего марианского цикла) позволяет не только установить более точное время появления некоторых из этих изображений, но и понять, как именно работали художники, чьи заказы они исполняли, какие именно религиозные идеи нашли отражение в их иллюстрациях.

This research paper presents study of the painting of Bishan Das, a great portrait artist in the court of the Mughal Emperor Jahangir. Jahangir always praised his work and said in Tuzuk-e-Jahangiri "He was incomparable in the art of portraiture. He had some exceptional skills which made him unique". His paintings were very informative with lively details. His painting skills were completely mastered and the vivid details of the background of his paintings made them very distinctive. Bishan Das has majorly contributed to the book of fables, Anwar -e-Suhaili (The Lights of Canopus). The paintings of Bishan Das were popular among women; his extraordinary skills won him praise at the major Harem events. Mughal Emperor Jahangir was a great art lover and a great patron of painting. Although, Mughal Empire in India was established by Babur, the painting reached its peak only during the Jahangir period. He gave complete freedom to the artists in his court. Also, provided necessary materials to the artists. During his time, portraits, court scenes, allegorical portraits, animal paintings, and border decorations got special encouragement. [ABSTRACT FROM AUTHOR]

As a testament to the past Malay glory, there are monumental architectures in Medan (North Sumatra, Indonesia), Langkat (North Sumatra, Indonesia) and Batubara Regencies (North Sumatra, Indonesia) that have become Malay icons. The city of Medan and several areas in North Sumatra are known as tourist destinations since the early 20th century. The tourism has strong potential but it has not been supported by representative souvenir products. This article discusses the preservation of Malay identity through research into the manufacture of miniatures as souvenirs. The aim is to explore the potential of Malay architectural forms to be explored in the production of miniature souvenirs to revitalize North Sumatra’s Malay identity. The replicated research methods are survey, creation (creative experiment), and conservation methods in the socio-cultural approach. Research data was collected from various sources and analyzed using an interactive model. The results of the study explain that the potential identity of Malay architecture can be mapped based on its type (function) and structure. Its exploratory potential, both technically and aesthetically, lies in the dynamic visualization of roof forms and architectural facades. As it is researched based on the iconic Malay architectural figures, the miniature products are exclusive in the form of unique souvenirs with a strong Malay identity. [ABSTRACT FROM AUTHOR]

The Radziwill chronicle is a unique Cyrillic manuscript dating back to the late 15th century. It was named after Radziwill princely family who kept it in the mid-17th century. The chronicle covers historical period from the mythical beginnings of Rus’ land up to the early 13th century. But it is not unique in terms of its text which is well-studied by scholars. Its exclusivity lies in over 600 miniatures that were once called “windows on a lost world”. In fact, the Radziwill chronicle is a copy of the illuminated codex of the early 13th century though its miniatures underwent some changes in the West-European style. Since the times of Aleksey Shakhmatov it is generally believed that the Radziwill chronicle was compiled in the city of Smolensk which was the part of the Grand Duchy of Lithuania up to 1514. This notion is mostly based on the results of linguistic analysis of the chronicle as the manuscript itself lacks any indications on the place of its creation. The concept of chronicle’s Smolensk origin is so engrained in academic literature that there were even proposals to rename it to the Smolensk chronicle. But after almost a century of scholarly consensus regarding this issue the new concept emerged. It was put forward in 2004 by Russian researcher Andrey Nikitin in whose opinion the Radziwill chronicle was compiled in the bishop’s scriptorium in Volodymyr (Volhynia). The theory formulated by Nikitin found its ardent supporter in Ukraine. The view of Volodymyr as chronicle’s hometown was enthusiastically accepted by Oleksiy Tolochko who promoted this theory in a number of publications. His conclusions were based on some paintings and marginal notes of the Radziwill chronicle. Unfortunately, his ideas have never been critically assessed despite being quite a novelty for chronicle studies. This served as an impetus for detailed examination of his “Volhynian theory”. As it appeared, it lacks any scholarly value and thus should be completely ignored. [ABSTRACT FROM AUTHOR]

Part-set cuing facilitation and impairment effects are rarely found in spatial memory, which is a challenge to the theories of part-set cuing effects based on lexical stimulus. This study aims to investigate whether there part-set cuing facilitation and impairment effects are present in spatial memory by constructing two types of memory scenes with high and low degrees of interitem associations, achieved by manipulating the presentation of miniatures. This study examined the effects of different part-set cues on free recall, recognition, and reconstruction tasks. The results of two experiments revealed that matrix cues impaired the performance of three recall tasks in memory scenes with a high degree of interitem associations, and scene cues facilitated the reconstruction performance (Experiment 1). Conversely, in memory scenes with a low degree of interitem associations, the impairment effect of matrix cues was not observed in the three recall tasks, but scene cues still facilitated the reconstruction performance (Experiment 2). These findings supported the retrieval strategy disruption hypothesis, the two-mechanism and the multi-mechanism accounts, demonstrating the significance of interitem associations in spatial memory. Furthermore, the results provided direct evidence for the importance of the encoding-retrieval strategy matching principle in spatial memory tasks. [ABSTRACT FROM AUTHOR]

Small artifacts and miniatures are reduced objects that can be connected to rituals, children’s activities, and small game. Material correlates can be established for the aforementioned hypotheses. In the southern end of the La Plata basin, small artifacts were recovered from different late Holocene hunter-gatherer archaeological sites, but their functional explanation is not clear. The aim of this paper is to discuss the presence of small artifacts in the regional record from the regular morphological groups of harpoon heads, atlatl hooks, lithic spheroids, and labrets. Firstly, we statistically evaluate the metrical structure of the complete sample to identify small size outliers. Secondly, we analyze the physical, morphological, and functional structure of the small artifacts to discuss if they are different from the regular sample in other properties rather than only the size. The results show that a reduced number of artifacts qualify as different from the regular sample, although variability among morphological groups is noticed in the raw material and use-wear patterns. In the case of harpoons and atlatl hooks, variable behaviors are recorded where children’s use is a possibility, but raw material mediated strategies and recycling of tools cannot be discarded. Labrets were intended for small people; and a lithic spheroid could have been made by a novice. Although no conclusive statement can be made because of the multiple nature of the archaeological record, our interpretations constitute a first approximation to the presence of children in the hunter-gatherer societies under study, which must be confronted through new studies and samples. [ABSTRACT FROM AUTHOR]

This note focuses on the value of looking into the visual culture embodied in India's epic manuscripts during the medieval period—which combined Persian, Mughal and Rājput styles—for a sociology of India. It demonstrates how illustrations and text were blended in the case of the Vālmīki Rāmāyaṇa, commissioned by the ruler of Orchā and Datia, Bīr Singh Bundela, borrowing from the earliest extant illustrated manuscripts of the Persian translation of the Rāmāyaṇa commissioned by the Mughal Emperor Akbar in the 1580s as well as Bīr Singh's own Vaisnava leanings. [ABSTRACT FROM AUTHOR]

This research studies the aesthetics of Timurid and Safavid miniatures in a comparative manner. The first chapter deals with the research problem, its importance, and defining the most important terms used in it. The research problem included the topic of the aesthetics of Timurid and Safavid miniatures in the drawings of both eras through the artistic works produced by Islamic painting schools, where each school has characteristics that distinguished it from the other. The research problem was overcome through the following question: How did the Muslim artist achieve the miniatures aesthetics in manuscripts for both eras? The II chapter, the theoretical framework, includes four sections: the first on the aesthetics of Islamic art, the second on the art of Islamic miniatures, the third on the most important artistic features of painting (the Timurid era), and the fourth of the (Safavid) era. The third chapter included the research procedures, and the fourth chapter included the results and conclusions. The functional treatment of the concept of space designated for Islamic miniatures came according to a fruitful and sincere artistic and functional emotional approach within the relationships of creation that give it a spiritual feeling due to what the elements of construction have of multiple intellectual meanings and connotations, such as transferring the stories and events that were prevalent at that time, to documenting the style of Islamic architecture and the type of clothing worn by Muslims, the moral and social values that appeared through the interpretation of the movements of people in the Islamic miniature, as came in most of the sample models.

The research deals with a proposed program to develop the creative ability associated with Arabic calligraphy among students of the fifth level of the Department of Visual Arts at the College of Design and Arts according to the creative activities and strategies used, and this study seeks to prepare a teaching program to develop the creativity of visual arts students to produce artworks related to Arabic calligraphy and Islamic art in a way General, and aims to raise the level of skill and technical performance of students at the fifth level in the Arabic calligraphy course based on the strategies and creative activities used for teaching, and allowing visual arts students to create artworks related to Arabic calligraphy and their Islamic heritage and to enhance the identity and pride in the Arab-Islamic heritage among visual arts students, and finally, after studying the investigations and objectives, The researcher reached some results, the most important of which is Arabic calligraphy, which is part of the Arab heritage and Islamic art, and is characterized by its ability to continue and communicate, which helped the students to create contemporary works of art derived from the Arab heritage and Islamic art. Islamic, and also Arabic calligraphy enjoys a huge amount of creative aesthetic values and rhythmic systems, and the multiplicity of their relationships, forms and types, which led to the presence of calligraphy in contemporary art and facilitated the production of creative works among visual arts students.

The Psalter is the Bible book most used in Orthodox worship. In the Middle Ages, illustrated psalters spread, and miniatures with New Testament subjects appeared on their pages. The paper shows the direct connection between the miniatures with a New Testament character and the worship of the Orthodox Church and confirms the perception of the Psalter in the Church as a book of prophecies. [ABSTRACT FROM AUTHOR]

Alexandr Mulear - one of the prominent and profoundly original personalities of the local music culture, has been prodigiously active over the years in the field of musical creation, leaving a portfolio that abounds in notable works, substantially contributing to the enrichment of the interpretive repertoire. The genres approached by the composer are diverse and extend over a vast compositional area. However, a major proportion of the highlighted works are instrumental works with cyclical forms. Six Miniatures for Violin and Piano is one of the works that marks the stage of the master’s interest in compositional experimentation. In this article, we propose some keys for decoding the form, language, compositional aspects, reception and valorization of A. Mulear’s music through the prism of the analyzed work

The proposed subject has tremendous significance for specialists in the field of studying iconography, Armenian miniature painting and theology, since the article examines and analyzes the relationship of miniatures of the masters of the Armenian community of New Julfa (Isfahan, Iran) with the works of Armenian miniaturists of the Polish-Lithuanian Commonwealth of the first quarter of the 17th century. This is especially presented in the iconography of full-page miniatures with the biblical and apocalyptical scenes in the traditions of the East and West. Thus, the miniatures of the Bible (Matenadaran, M351) illuminated by the master Ghazar Baberdatsi in the Armenian monastery of the Assumption of Theotokos at Lvov in 1616–1619 are directly affected on the development of iconographic schemes of miniatures created by the New Julfan craftsmen in the second quarter of the seventeenth century. Such influence, in particular, can be traced in the works of the master Hayrapet Jughayetsi. Also, thanks to the surviving colophons of the Lvov Bible, a number of aspects related to the attribution of the authorship of miniatures have become clear.

The paintings by Filippo Caramazza were made during years of protracted expectation of the major retrospective of paintings: Philip Guston Now. Delay was caused by significant debate between major receiving institutions as to their responsibilities when exposing provocative imagery to public view. Potential for misjudgement was a foremost concern in planning publications and installations. As if to manage a sense of deprivation, Caramazza imaginatively substitutes the real paintings, currently withheld, as postcard re-presentations, as if to mark their existence in absentia. The faithful painterly address to detail of image and technique suggest his reverence for the presence of the original works without attempting to replicate their powerful impression. The passive form of copying, a 'humble address' to the original paintings, stands in contrast with the authoritative nature of the institutional debate. Much of the concern with public reception of the paintings focused on issues raised by the contemporary 'Black Lives Matter' movement and references to the Ku Klux Klan (KKK) within Guston's work. Effectively the museums decided to acknowledge but defuse problematic content. This article takes the view that the politics of Guston's paintings address sociopolitical and personal issues generally, as well as formal painterly issues in contemporary American painting. Taking these ideas further, Caramazza's paintings offer an opportunity to consider how museums shape critical and theoretical narratives in the construction of displays and a consideration of how painting may act as a critical witness. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Cultural Studies / Roczniki Kulturoznawcze is the property of John Paul II Catholic University of Lublin, Institute of Cultural Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The manuscript presented in this contribution, a Liber Sextus preserved in the Library of Congress in Washington DC (Ms. 28), has so far been overlooked by art historians.The stylistic analysis of the illustrative and decorative apparatus of the manuscript, conducted in this study, makes it possible to attribute it to the anonymous illuminator called Master of the Avignon Decretum (from the most relevant manuscript illuminated by him, Avignon, Bibliothèque Municipale, Ms. 659), as revealed by the physiognomies of the faces of the characters depicted in the manuscript.This illuminator, trained most probably in Toulouse and active between 1320 and 1350, likely had links with the Dominicans of the city.

This article seeks to investigate the design and creation of several models and dioramas of Holocaust death camps as spatial and historical representations of Holocaust memory. It broadly discusses their use as pedagogical tools, forms of art, testimonial expression and memorialization. It also addresses questions concerning the intention of their designers and creators, as well as the ethical considerations of recreating these spaces. [ABSTRACT FROM AUTHOR]

Copyright of Central Asian Journal of Art Studies is the property of Central Asian Journal of Art Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The visual magic of the miniature world allows the depiction of the past using a combination of advanced contemporary, as well as classical technologies. For the viewer to be transported back in time, the miniature must be a hyper-realistic representation that acts on the viewer's memory and imagination. A miniature, appreciable in size, in which the scenes turn out to be drawn from the reality of the past, constitutes an extremely effective method of actualizing a tragic episode of history. And since miniatures can transform reality into art, they are, simultaneously, artistic compositions. [ABSTRACT FROM AUTHOR]

Copyright of Athar alrafedain is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers an in-depth exploration of a group of small Viking Age figurines commonly referred to as ‘valkyries’ in Viking and Old Norse scholarship. After presenting an overview of the long research history pertaining to these finds and their varying definitions, this study re-analyses their various formal and stylistic features and proposes a new typological system based on a comprehensive investigation of the current find corpus. This is followed by a deconstruction and discussion of the ambiguous gender characteristics of the figurines and an exploration of the potential new avenues of their interpretation. The study is supplemented by detailed catalogues of all presently known finds of so-called armed ‘valkyrie’ figures as well as high-quality illustrations that demonstrate their great iconographic value for studies of Viking Age clothing, martial equipment and ritual behaviour.

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Vasile Ijac was a composer, conductor, music critic and teacher from Banat, who asserted himself at the beginning of the 20th century. The composer's musical creation includes almost all musical genres, but piano works occupy a very important place. Some of the most famous and important works are the Hedonisms, a series of eight miniature notebooks. The series of Hedonisme miniatures subscribes to the trajectory imposed by the stylistic currents asserted at the beginning of the 20th century. Of the eight notebooks, only the first notebook, opus 13 is printed, the rest are manuscripts located in the Archives of the Timisoara Banatul Museum. [ABSTRACT FROM AUTHOR]

Th is article represents an analysis of the compositional and stylistic particularities of two miniatures for violin and piano by E. Elgar written in the years 1988-1980, complementing them with recommendations that might come in useful for the study process of violinists and the successful performance of these musical gems. Salut d’amour is a lyrical drawing-room piece in a style characteristic of the composer’s writing, expressed through simplicity, typical of this early period of creation. Being considered to be an accessible piece both to the large audience and amateur violinists, it is frequently presented in entertainment concerts. Bizarrerie is a virtuoso piece which refl ects the characteristics of the Elgar violin style through the alternation of musical articulations such as staccato, dotted rhythmical fi gures and staccato-volant. Th e name of this miniature, in our opinion, depicts its whimsy character which persists throughout the musical discourse, as well as in its unusual structure.

This article seeks to investigate the design and creation of several models and dioramas of Holocaust death camps as spatial and historical representations of Holocaust memory. It broadly discusses their use as pedagogical tools, forms of art, testimonial expression and memorialization. It also addresses questions concerning the intention of their designers and creators, as well as the ethical considerations of recreating these spaces.

The study examines the relations between different aspects (Ancient Greek main text, miniatures, Old French translation on the margins, Old French headlines) of the manuscript Iviron № 463, which is a bilingual (Ancient Greek-Old French) Byzantine manuscript kept on Mount Athos, from a new perspective by including formerly not investigated viewpoints: by exploring the relationship between the miniatures and the headlines that are highlighted by red ink in the Old French text. The study also mentions the explanatory inscriptions in codices that preserved the Greek versions of the Barlaam-romance and are relevant in connection with the Iviron manuscript, furthermore, it investigates the common features of the manuscripts. The analysis reveals new important relations regarding the circumstances of the creation of codex Iviron.

Copyright of Journal of Arabian Sciences Heritage is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Santander. Estudios de Patrimonio is the property of Santander Estudios de Patrimonio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers an in-depth exploration of a group of small Viking Age figurines commonly referred to as ‘valkyries’ in Viking and Old Norse scholarship. After presenting an overview of the long research history pertaining to these finds and their varying definitions, this study re-analyses their various formal and stylistic features and proposes a new typological system based on a comprehensive investigation of the current find corpus. This is followed by a deconstruction and discussion of the ambiguous gender characteristics of the figurines and an exploration of the potential new avenues of their interpretation. The study is supplemented by detailed catalogues of all presently known finds of so-called armed ‘valkyrie’ figures as well as high-quality illustrations that demonstrate their great iconographic value for studies of Viking Age clothing, martial equipment and ritual behaviour. [ABSTRACT FROM AUTHOR]

The nexus of humans and objects requires careful consideration of their interaction throughout the ages. Bill Brown's phenomenal essay "Thing Theory" (2001) has paved a new way for reexamining this affiliation. This paper is an attempt to study the different roles of miniatures in shaping the life of Petronella Oortman, a seventeenth-century Dutch woman. In so doing, the paper closely reads Jessie Burton's The Miniaturist (2014). Drawing theoretical insights from Susan Stewart, Gaston Bachelard, among others, the paper probes into the significance of miniatures in shaping anthropomorphic relationships. [ABSTRACT FROM AUTHOR]

Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the Polish religious writing of the Middle Ages and Renaissance as an expression of correspondence between the word and image. It also demonstrates the impact of European graphics, including Albrecht Dürer’s woodcuts, upon Polish religious works of the period (such as the works by Pseudo-Bonaventura in his rendering of Baltazar Opec’s Żywot Pana Jezu Krysta and Jan Sandecki’s Historie biblijne or Rozmyślania dominikańskie. The article also emphasizes that it was Dürer who paved the way for the book illustration, thus turning woodcuts into an art form in their own right. The fifteenth century was a watershed in book culture. As new illustration techniques at the turn of the fifteenth and sixteenth centuries encouraged the growth of illustrated printed books, the codex became obsolete.

Teffi's theatrical work has not been investigated to any great extent. As Teffi was dubbed the 'female Chekhov', I aim to explore similarities with Chekhov's dramatic work by comparing two of her early miniatures with two Chekhov vaudevilles in order to find out how he may have influenced her and where instead she seeks her own way. A more general analysis of an early full-length Teffi drama coupled with a comparison of that work with the features of Chekhov's major dramas are offered as a conclusion. [ABSTRACT FROM AUTHOR]

This contribution presents an overview of the theatre works written by Teffi throughout her literary career, which started in tsarist Russia and successfully continued in Paris from 1919. [ABSTRACT FROM AUTHOR]

The illustrations of Medina and Mecca in al-Ǧazūlī's prayer book Dalāʾil al-Khayrāt have drawn the attention of many scholars, who have come up with different interpretations. In the present article, a subgroup within the Maghribī manuscripts of that text is defined for the first time: luxury manuscripts that date from the 11–12th/17–18th centuries and that were mostly produced for important owners, certainly in Morocco, possibly in other parts of the Magrib. The manuscripts in this subgroup have an illustrated and illuminated addition that physically precedes the text of Dalāʾil al-Khayrāt , but that does not belong to the text of the prayer book. In the present article that addition is for the first time identified as such and described. A small corpus has been assembled and, by way of example, the article contains a detailed description of two manuscripts belonging to that newly defined subgroup: MS Paris, Bibliothèque nationale de France, Arabe 6983, and MS Berlin, Staatsbibliothek, Or. oct. 240. [ABSTRACT FROM AUTHOR]

This article discusses how Venice, in its political representation, valued the relation with the sacred as one of the main strategies for strengthening its political power in Istrian communities. Through associations with the cults of local saints, the Republic participated in the (co)creation of local memory and identity as evinced in the cases of St. Nazarius, the patron saint of Koper, and St. Euphemia, the patron saint of Rovinj. A new impetus was given to their cults in the 15th century after the restitution of their relics as attested by commissions of several liturgical objects made in the Venetian botteghe. The restitution of the relics of St. Euphemia in 1401, here confirmed by the archival research, is a rare documented case in Venetian political and religious practices. The growth of devotion to the saint was prompted by the return of the body, but also by the Venetian custom of developing cults in a coordinated manner, encompassing liturgical celebrations, legends and their visual expressions. This article sheds new light on the role of Venetian officials in the promotion of the cult of St. Euphemia and the authorship of the key illuminations in the Rovinj Illuminated Codex.

El Libro de los Juramentos del Ayuntamiento de Toledo es considerado uno de los códices más importantes custodiados en el Archivo Municipal de la ciudad, si bien, aunque los estudios referentes a su contenido se han tenido en cuenta desde hace décadas, no ha sido el caso en lo referente a su aportación artística. Los folios iluminados y enmarcados con bellas orlas han fascinado a todos los que, por alguna razón, se acercaron al manuscrito toledano, por lo que nuestro principal objetivo ha sido analizar desde el punto de vista estético, estilístico e iconográfico el conjunto de repertorios iluminados. En el proceso de estudio ha sido fundamental el análisis comparativo con otros códices que hemos considerado contemporáneos, pues en base a la fecha de renovación del volumen manuscrito, la diligencia del último folio apunta al año de 1594. De igual manera hemos podido concluir una importante conexión estilística y técnica con las nuevas fórmulas de iluminación, iniciadas en el scriptorium del monasterio de El Escorial desde el último cuarto del quinientos. Abstract The Book of Vows of the City Hall of Toledo is considered one of the most important codex kept in the Archive of the city. The studies regarding its content have been already analyzed for decades, but its artistic contribution has been neglected. The illuminated pages, beautifully framed, have fascinated all those who have approached the Toledo manuscript. Our main objective has been to analyze from the aesthetic, stylistic and iconographic point of view the set of illuminated repertoires. This article will stablish new relations with other codices that we have considered contemporary, according to the date of renewal of the book: the year 1594. We have been able to link this work stylistically and technically with the new formulas of illumination, started at the scriptorium of the monastery of El Escorial during the last quarter of the five hundred.

In the 1940s and 1950s, Chicago heiress Frances Glessner Lee (1878–1962) created a group of miniature rooms and buildings as tools for forensic investigators-in-training at Harvard Medical School’s Department of Legal Medicine. Known collectively as the Nutshell Studies of Unexplained Death, each represents a tiny, highly detailed crime scene, for which Lee also created an accompanying text with additional information: witness statements, weather reports, etc. It was Lee’s intention that the Nutshell Studies would provide capsule crime scenes “at the most effective moment, very much as if a motion picture were stopped at such a point” (Lee n.d.). This paper will explore Lee’s literary work – both in her youth and in her acc ompanying texts for the Nutshells. It will also look at the ways in which the themes of the Nutshells’ crimes, carefully chosen by Lee to represent issues relevant to her own day in the 1940s, are reflected in larger cultural currents in American society. This reflection of contemporary social issues finds strong parallels with crime film of the late 1940s and 1950s, particularly work of Alfred Hitchcock. In turn, many anxieties of mid-century America are also reflected in the post- 9/11 world with an increased unease about terrorism, global migration, and globalism. By understanding Lee`s and Hitchcock’s earlier work, we can better understand the 21st century’s attitude to similar concerns.

(Ar) اسهامات الهندسة الميكانيكية الإسلامية في تطوير الآلات ذاتية الحركة (في ضوء كتاب الحيل للجزري) دراسة وصفية تحليلية هل كان للعرب المسلمين قديما باع في علم الهندسة الميكانيكية؟ وهل كان لهم السبق على الغرب في هذا المجال؟ من الملاحظ حاليا أن العرب والمسلمين في شتى دول العالم -تقريباً- أصبحوا مجرد مستهلكون لما ينتجه الغرب في شتى المجالات، نتيجة لما وصل اليه الغرب من تقدم وتطور تكنولوجي مستمر ومتنامي بسرعة فائقة. وهنا كان لابد لنا ان نتساءل هل كان العرب المسلمين على هذا الحال قديما؟ يقوم هذا البحث على اثبات فرضية أن العلماء المسلمين قد حققوا تقدماً كبيرا في مجال الهندسة الميكانيكية، واستطاعوا ابتكار آلات ذاتية الحركة، والمعروفة حديثاً بـ »الأتمته«. ووفقاً لذلك، كان الهدف الأساسي لهذا البحث هو إثبات صحة هذه الفرضية. يتناول هذا البحث بعض نماذج من الآلات ذاتية الحركة؛ وذلك من خلال كتاب »الجامع بين العلم والعمل النافع في معرفة الحيل الهندسية« لمؤلفه العالم المسلم الجزري. تضمن الكتاب - في الأصل مخطوط - وصف تفصيلي لهذه الآلات الميكانيكية ذاتية الحركة، وكيفية تنفيذها مشفوعا بالتصاوير الملونة المعروفة اصطلاحاً بـ »المنمنمات«. تتكون خطة البحث من تمهيد يتناول التعريف بما يصطلح عليه التكنولوجيا الدقيقة والأتمته » الآلات ذاتية الحركة«، ويلي ذلك تاريخ الأتمته بدءا من العصور القديمة وحتى العصور الوسطى. كما سيتناول البحث إسهامات علماء المسلمين في مجال الهندسة الميكانيكية بشكل عام، وفي مجال انتاج الآلات ذاتية الحركة بشكل خاص، مدعوما باستعراض نماذج للآلات ذاتية الحركة تم شرحها ضمن »كتاب الحيل«. ويلي ذلك السيرة الذاتية للعالم المسلم اسماعيل بن الرزاز الملقب بـ »الجزري «، بالإضافة إلى تحليل تاريخي وفني موجز عن المخطوط محل الدراسة. وفي النهاية سيتم عمل دراسة تحليلية للنماذج المختارة من الآلات ذاتية الحركة وعلاقتهم بالآلات الحديثة والصناعات التكنولوجية المتطورة. وفي المجمل واستنادا على »كتاب الحيل«، والذي يعود تاريخه للقرن ٧هـ/ ١٣م تمكن هذا البحث من التدليل على أن الآلات ذاتية الحركة ليست اختراعاً غربياً؛ بل هي نتاج الحضارة الإسلامية، ودليل ملموس على مدى تفوقهم في مجال الهندسة الميكانيكية منذ العصور الوسطى. (En) Were the Muslims in ancient times highly proficient in mechanical engineering? Did they have a head start over the West in this field? Unfortunately, it is noticeable nowadays that Arabs and Muslims all over the world became just consumers; exploiting all technological developments of the West that are rapidly growing. Here we had to wonder whether the Arab Muslims, long ago, was in this manner. This research hypothesizes that Muslims had attained an advanced level of mechanical engineering and were the inventors of the self-moving artifacts; recently known as automata. Accordingly, this research has undertaken the mission to prove that assumption. This paper focuses on automata machines, in light of «kitāb al-Ḥiyal» of the Muslim engineer al- Ǧazarī. This book -initially a manuscript- included a detailed description of these machines accompanied by painted illustrations known as «miniatures». The paper begins with a preface dealing with the meaning of fine technology and automata, followed by the story of automata since the antique ages and until the medieval epochs. The latter element is an indication of Muslims’ contributions to mechanical engineering in general, and automata in particular. This is supported by previewing samples on automata «self-moving» machines according to the miniatures of «kitāb al-Ḥiyal ». This is followed by briefed biography of the book’s author al- Ǧazarī and a historical and artistic analysis of the book itself. Finally, there is a concise scientific analysis of the chosen samples of automata and their relevance to modern machines and advanced technology industries. Conclusively, concerning the value of «kitāb al-Ḥiyal» which is dated back to the 7th century AH/ 13th century AD, this research accentuated that automata machines are not a Western invention, they are an outcome of the Golden Age of the Islamic civilization, proving their supremacy in mechanical engineering since the medieval epochs.

Copyright of Art-Sanat Journal / Art-Sanat is the property of Art-Sanat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)