Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1917278
C. Chazelle
{"title":"Diagramming Devotion: Berthold of Nuremberg's Transformation of Hrabanus Maurus's Poems in Praise of the Cross, by Jeffrey F. Hamburger","authors":"C. Chazelle","doi":"10.1080/00043079.2021.1917278","DOIUrl":"https://doi.org/10.1080/00043079.2021.1917278","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"152 - 154"},"PeriodicalIF":0.7,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45845740","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1917281
E. Levy
from European Christian contexts to construct images related to Islamic visions of the occult and the apocalypse. Beyond attesting to the importance of common revered figures, such as Mary and Jesus, in the Islamic tradition, Fetvacı shows that this engagement did not lead to stylistic inspiration. Instead, these prints were “carriers of information” (147). As such, the reception of Christian devotional images was not uniform at early modern Islamic courts; as Fetvacı points out, the way the Ottomans employed Christian devotional images while remaining loyal to their own visual idiom stands in contrast to how they were used in Mughal India.5 What did the collection of such diverse works of art and literature mean in the context of Sultan Ahmed’s overall goals? “By framing artworks from disparate places and times with contemporary, Ottoman illumination,” Fetvacı writes, “[Ahmed] lays claim to the materials and asserts that the aesthetics of the present moment (amply represented in the artworks included in the album) are superior to that of previous moments or different places” (86). Thus, while Ahmed’s album confirms our expectations within a history of art, its makers’ connoisseurial choices and visual strategies advanced a hierarchy among its diverse artworks, between contemporary Ottoman material and past and present artworks from East and West. Stimulated by these arguments, this reader wondered whether Mughal albums could have served as references of more detailed comparison, especially in the last chapter. In Emperor Jahangir’s now dispersed album, known as the Muraqqaʿ -i Gulshan, Mughal illuminations frame European religious imagery and Timurid and Safavid works (for example, calligraphic specimens by nastaʿ līq masters such as Mir ʿAli of Herat).6 The flowers and animals in Ahmed’s album also call to mind the prominence of those themes in Mughal albums. That emperor’s regal title, Jahangir—literally meaning “World Seizer”—also invites comparison with Ahmed’s broader ambitions. Of course, these might be questions to examine in a separate study. Perhaps a conclusion charting some future directions of research could have lent greater force to the overall aspirations of the book. In The Album of the World Emperor, Fetvacı advances a deeply learned argument that places actual and abstract juxtapositions within Ottoman and Perso-Islamic bookmaking and reading/viewing traditions. It rightly presents its material as “a local manifestation of the interconnected globe” (6). It promises to traverse some of the seemingly insurmountable boundaries between art historical fields focusing on Europe and the Islamic world. Fetvacı’s exemplary scholarship should therefore inspire Islamic art historians and early modernists interested in contacts and exchanges more broadly.
{"title":"A History of Art History, by Christopher S. Wood","authors":"E. Levy","doi":"10.1080/00043079.2021.1917281","DOIUrl":"https://doi.org/10.1080/00043079.2021.1917281","url":null,"abstract":"from European Christian contexts to construct images related to Islamic visions of the occult and the apocalypse. Beyond attesting to the importance of common revered figures, such as Mary and Jesus, in the Islamic tradition, Fetvacı shows that this engagement did not lead to stylistic inspiration. Instead, these prints were “carriers of information” (147). As such, the reception of Christian devotional images was not uniform at early modern Islamic courts; as Fetvacı points out, the way the Ottomans employed Christian devotional images while remaining loyal to their own visual idiom stands in contrast to how they were used in Mughal India.5 What did the collection of such diverse works of art and literature mean in the context of Sultan Ahmed’s overall goals? “By framing artworks from disparate places and times with contemporary, Ottoman illumination,” Fetvacı writes, “[Ahmed] lays claim to the materials and asserts that the aesthetics of the present moment (amply represented in the artworks included in the album) are superior to that of previous moments or different places” (86). Thus, while Ahmed’s album confirms our expectations within a history of art, its makers’ connoisseurial choices and visual strategies advanced a hierarchy among its diverse artworks, between contemporary Ottoman material and past and present artworks from East and West. Stimulated by these arguments, this reader wondered whether Mughal albums could have served as references of more detailed comparison, especially in the last chapter. In Emperor Jahangir’s now dispersed album, known as the Muraqqaʿ -i Gulshan, Mughal illuminations frame European religious imagery and Timurid and Safavid works (for example, calligraphic specimens by nastaʿ līq masters such as Mir ʿAli of Herat).6 The flowers and animals in Ahmed’s album also call to mind the prominence of those themes in Mughal albums. That emperor’s regal title, Jahangir—literally meaning “World Seizer”—also invites comparison with Ahmed’s broader ambitions. Of course, these might be questions to examine in a separate study. Perhaps a conclusion charting some future directions of research could have lent greater force to the overall aspirations of the book. In The Album of the World Emperor, Fetvacı advances a deeply learned argument that places actual and abstract juxtapositions within Ottoman and Perso-Islamic bookmaking and reading/viewing traditions. It rightly presents its material as “a local manifestation of the interconnected globe” (6). It promises to traverse some of the seemingly insurmountable boundaries between art historical fields focusing on Europe and the Islamic world. Fetvacı’s exemplary scholarship should therefore inspire Islamic art historians and early modernists interested in contacts and exchanges more broadly.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"160 - 163"},"PeriodicalIF":0.7,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1917273
{"title":"Editorial Board and Information for Authors","authors":"","doi":"10.1080/00043079.2021.1917273","DOIUrl":"https://doi.org/10.1080/00043079.2021.1917273","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":" ","pages":"2 - 2"},"PeriodicalIF":0.7,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46025820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/00043079.2021.1882808
Stephanie Su
Abstract The 1933 Chinese Art Exhibition in Paris, the first large-scale Chinese art show in France, played a critical role in establishing the category of “modern Chinese painting” in early twentieth-century Europe. Close visual and textual analysis reveals three factors that shaped the exhibition: the shifting international politics between France, Japan, and China; the complex social network among Chinese artists; and the personal vision and aspiration of the exhibition’s curator. It was through the interaction and competition among different agents and institutions that the category of modern Chinese painting was created.
{"title":"Exhibition as Art Historical Space: The 1933 Chinese Art Exhibition in Paris","authors":"Stephanie Su","doi":"10.1080/00043079.2021.1882808","DOIUrl":"https://doi.org/10.1080/00043079.2021.1882808","url":null,"abstract":"Abstract The 1933 Chinese Art Exhibition in Paris, the first large-scale Chinese art show in France, played a critical role in establishing the category of “modern Chinese painting” in early twentieth-century Europe. Close visual and textual analysis reveals three factors that shaped the exhibition: the shifting international politics between France, Japan, and China; the complex social network among Chinese artists; and the personal vision and aspiration of the exhibition’s curator. It was through the interaction and competition among different agents and institutions that the category of modern Chinese painting was created.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"125 - 148"},"PeriodicalIF":0.7,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47999947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/00043079.2021.1877967
Molly Emma Aitken
{"title":"Climate Change and the Art of Devotion: Geoaesthetics in the Land of Krishna, 1550–1850, by Sugata Ray","authors":"Molly Emma Aitken","doi":"10.1080/00043079.2021.1877967","DOIUrl":"https://doi.org/10.1080/00043079.2021.1877967","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"156 - 158"},"PeriodicalIF":0.7,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043079.2021.1877967","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45658628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/00043079.2021.1847578
Nicholas Robbins
Abstract In early nineteenth-century Britain, the painter John Constable and meteorologist Luke Howard experimented with new aesthetic forms in response to the challenges climate posed to representation. In landscape paintings, sketches, tables, and graphs, the artist and scientist grappled with climate’s temporal scale, which extended beyond the domain of immediate “feeling” associated with landscape representation. Their efforts to construct a stable representation of England’s climate took shape against the polluted atmosphere of industrial, imperial London, and in tandem with the modern state’s disciplinary visuality. In their work, an aesthetics of climate emerged that was responsive to an environment increasingly known through numeric data and abstraction.
{"title":"John Constable, Luke Howard, and the Aesthetics of Climate","authors":"Nicholas Robbins","doi":"10.1080/00043079.2021.1847578","DOIUrl":"https://doi.org/10.1080/00043079.2021.1847578","url":null,"abstract":"Abstract In early nineteenth-century Britain, the painter John Constable and meteorologist Luke Howard experimented with new aesthetic forms in response to the challenges climate posed to representation. In landscape paintings, sketches, tables, and graphs, the artist and scientist grappled with climate’s temporal scale, which extended beyond the domain of immediate “feeling” associated with landscape representation. Their efforts to construct a stable representation of England’s climate took shape against the polluted atmosphere of industrial, imperial London, and in tandem with the modern state’s disciplinary visuality. In their work, an aesthetics of climate emerged that was responsive to an environment increasingly known through numeric data and abstraction.","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"50 - 76"},"PeriodicalIF":0.7,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043079.2021.1847578","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46576433","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-03DOI: 10.1080/00043079.2021.1900674
Prita Meier
{"title":"Letter to the Editors","authors":"Prita Meier","doi":"10.1080/00043079.2021.1900674","DOIUrl":"https://doi.org/10.1080/00043079.2021.1900674","url":null,"abstract":"","PeriodicalId":46667,"journal":{"name":"ART BULLETIN","volume":"103 1","pages":"169 - 169"},"PeriodicalIF":0.7,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043079.2021.1900674","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44919263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：