1-2 of 2 results  for:

  • African Art x
  • 1000–1100 x
  • Art of the Middle East/North Africa x
  • Medieval Art x
Clear all

Article

In its most general sense, spolia (pl., from Lat. spolium: ‘plunder’) denotes all artifacts re-employed in secondary contexts, from building blocks reused in a wall to pagan gems mounted on a Christian reliquary. It is a matter of debate whether this broad application of the term is justified, or whether it should be restricted to the relatively small subset of reused objects that were taken or ‘stripped’ (like spoils) from their original context, rather than found, purchased, inherited or otherwise acquired by non-violent means. It is likewise debated when the use of spolia should be considered meaningful, if at all. Arnold Esch defined five possible motives for using spolia: convenience, profanation, Christianization, political legitimation and aesthetic attraction. Michael Greenhalgh has argued for reducing the motives to three (at least with regard to marble): pragmatism, aesthetics and ideology; while Finbarr Barry Flood cautioned against reductive interpretations generated by any taxonomy, insisting that reused objects are mutable in meaning and capable of multiple interpretations during their life cycle....

Article

Rachel Milstein

Illuminated Hebrew Bible (St Petersburg, N. Lib., MS. Firk. Heb. I B 19A), copied in Fustat, Egypt, in 1008–10. Written in ink and lavishly illuminated in gold, blue, and red at the end, this codex of 491 vellum leaves is the only complete Hebrew Bible from the early medieval Near East. It was copied between ...