{"title":"Frame for a Sultan","authors":"Rossitza B. Schroeder","doi":"10.32773/eexr7455","DOIUrl":null,"url":null,"abstract":"This essay explores the iconography and significance of the painted frame in the 1480 portrait of the Ottoman sultan Mehmed II by the Venetian artist Gentile Bellini. The frame is lavishly polymorphous and functions as an encomium of sorts, a visual praise that sets the royal figure apart and propels it into the realm of the holy. The sultan internalized as well as institutionalized the distant, unapproachable persona of the late Byzantine emperors and, like them, retreated behind elaborate ceremonial and precious materials. Bellini responded to these circumstances and granted the sultan the status of semi-divine being while synthesizing Italian and Byzantine traditions of enshrinement of sacred images and matter.","PeriodicalId":35070,"journal":{"name":"Studies in Iconography","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Iconography","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.32773/eexr7455","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
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Abstract
This essay explores the iconography and significance of the painted frame in the 1480 portrait of the Ottoman sultan Mehmed II by the Venetian artist Gentile Bellini. The frame is lavishly polymorphous and functions as an encomium of sorts, a visual praise that sets the royal figure apart and propels it into the realm of the holy. The sultan internalized as well as institutionalized the distant, unapproachable persona of the late Byzantine emperors and, like them, retreated behind elaborate ceremonial and precious materials. Bellini responded to these circumstances and granted the sultan the status of semi-divine being while synthesizing Italian and Byzantine traditions of enshrinement of sacred images and matter.
本文探讨了1480年威尼斯艺术家外泰莱·贝里尼(Gentile Bellini)为奥斯曼苏丹穆罕默德二世(Ottoman sultan Mehmed II)绘制的肖像中画框的图像学和意义。这个框架是丰富多样的，作为一种赞美，一种视觉上的赞美，将皇室人物区分开来，并将其推向神圣的领域。苏丹内化和制度化了晚期拜占庭皇帝的冷漠、难以接近的形象，像他们一样，躲在精致的仪式和珍贵的材料后面。贝利尼对这些情况做出了回应，并在综合意大利和拜占庭的神圣形象和物质的神圣传统的同时，授予苏丹半神的地位。
期刊介绍：
Studies in Iconography is an annual that contains original essays that study the visual culture of the period before 1600. Each volume includes an overview of scholarship on a topic of current interest, approached from an interdisciplinary and/or theoretical perspective; five to seven articles that often highlight interdisciplinary concerns; and six to ten in-depth reviews of important recent scholarly books, facsimiles, and catalogues. The editors expecially encourage essays that explore newer approaches developed in areas such as semiotics, cultural anthropology, gender studies, ideological critique, and social history as well as those that incorporate the perspectives of the new art history, the new historicism, and other histories of representation.
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