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By Jill Caskey;Adam S. Cohen;Linda Safran

This quantity techniques the matter of the canonical heart through paintings and structure at the borders of the medieval global, from China to Armenia, Sweden, and Spain. Seven individuals have interaction 3 precise but comparable difficulties: margins, frontiers, and cross-cultural encounters. whereas now not showing a unified method or privileging particular theoretical constructs, the essays emphasize how recommendations of illustration articulated possession and identification inside of contested arenas. what's contested is either medieval (the fabric facts itself) and glossy (the scholarly traditions during which the facts has or has now not been embedded). An creation through the editors areas the essays inside of historiographic and pedagogical frameworks. members: J. Caskey, ok. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.

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For a survey of “Mudéjar” art and architecture, see Rafael López Guzmán, Arquitectura mudéjar: del sincretismo medieval a las alternativas hispanoamericanas (Madrid: Ediciones Cátedra, 2000), as well as Pérez Higuera, Arquitectura mudéjar en Castilla y León. The somewhat spotty preservation of so-called “Mudéjar” monuments throughout Castile probably does not accurately represent the extent to which this aesthetic was typical of constructions, both religious and secular in function, undertaken by Castilian patrons during the later Middle Ages.

Glick discusses technology, artisanry and science; Drory analyzes literature; and Marcus describes a ritual. They deal with different historical circumstances. In al-Andalus and the 18 Itamar Even-Zohar has produced a rich corpus of writing on these matters; the basic terms discussed here are laid out in “The Making of Culture Repertoire and the Role of Transfer,” Target, 9, no. 1 (1997), 373-381; I am indebted to Gad Freudenthal for discussing these issues with me. pdf. jewish art and cultural exchange 17 Christian kingdoms in the north of Iberia, two divergent but geographically adjacent cultures existed in political conflict.

Islamic rule applied the legal system of dhimmi, with a certain degree of religious tolerance that was, on the whole, apt to encourage cultural contact. Jewish cultural agents—patrons, scribes and painters—became acquainted with the formal repertoire of Islamic art, and did not resist integrating it into their own culture. A transfer of cultural elements began and Jewish scribes and/or artists adopted this formal repertoire. At this point, a certain dynamic was initiated that involved a much broader cultural exchange.

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