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Monuments of a Syncretic Society: Wall Painting in the Latin Lordship of Athens, Greece (1204-1311)

机译:一个共同社会的纪念碑:希腊雅典拉丁贵族的壁画(1204-1311)

摘要

This dissertation focuses on wall painting in the thirteenth-century lordship of Athens, an area roughly corresponding to modern-day Attica, Boeotia and the Argolid in southern Greece. The lordship was established as part of the Latin Principality of Morea in 1205 when, in the aftermath of the Fourth Crusade, Frankish forces moved outward from the fallen city of Constantinople to conquer former Byzantine lands. More than twenty monuments painted in the region during the thirteenth- and the first decade of the fourteenth century still preserve all or part of their original decoration. Notwithstanding the informative potential of such an extensive body of evidence, there has been no systematic investigation of the decorative programs in light of the particular socio-cultural conditions of Latin Greece. The present study is intended to fill this gap and begins by outlining the scope of artistic production in the lordship in the years between 1204 and 1311. Addressing Greek- and Latin-sponsored religious and secular programs, the murals are examined in the context of their multicultural setting. Particular attention is given to social, religious and political ideas as well as to artistic practices that found their way into the art of the period as a result of the socio-cultural environment created by the historical circumstances. Highlighting issues such as Church union, liturgical practice and cultural identity as they are reflected in the paintings, the study attempts to add clarity to the modes of cultural interaction in Frankish Greece. Thus evaluated, the murals disclose a striking range of opinions and responses. They bring to light religious boundaries and reveal attempts at cultural and political re-definition, but they also display points of convergence and mutual recognition. Combined, the painted programs in the Latin lordship of Athens are physical testimonies of a syncretic society whose multicultural factions lived, if not in a state of completely peaceful agreement, at least in a state of pragmatic tolerance.
机译:本文主要研究雅典13世纪领主的壁画,该区域大致对应于现代的Attica,Boeotia和希腊南部的Argolid。君主制于1205年作为莫雷拉丁公国的一部分而建立,当时在第四次十字军东征后,法兰克军队从沦陷的君士坦丁堡迁出,征服了以前的拜占庭领土。在十三世纪至十四世纪的前十年,该地区画了二十多处古迹,至今仍保留了全部或部分原始装饰。尽管有如此广泛的证据可以提供有益的信息,但根据拉丁美洲希腊的特殊社会文化条件,还没有对装饰性方案进行系统的调查。本研究旨在填补这一空白,并首先概述了1204至1311年间领主的艺术生产范围。针对壁画和希腊文赞助的宗教和世俗节目,对壁画进行了研究。多元文化背景。由于历史环境所创造的社会文化环境,特别关注社会,宗教和政治思想以及艺术实践,这些艺术实践进入了当时的艺术。研究着重强调了在绘画中反映的诸如教堂工会,礼仪实践和文化认同等问题,该研究试图使法兰克希腊的文化互动方式更加清晰。通过这样的评估,这些壁画揭示出了广泛的见解和回应。它们揭示了宗教界限,揭示了重新定义文化和政治的尝试,但它们也显示出融合和相互认可的观点。结合起来,雅典拉丁贵族制的绘画节目是一个融合社会的物理见证,该文化的多元文化派别生活在即使不是完全和平协议的状态下,至少在务实宽容的状态下。

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    Hirschbichler Monika;

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  • 年度 2005
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