Buch, Englisch, Band Volume 259, 365 Seiten, Gewicht: 735 g
Buch, Englisch, Band Volume 259, 365 Seiten, Gewicht: 735 g
Reihe: Orientalia Lovaniensia Analecta
ISBN: 978-90-429-3228-9
Verlag: PEETERS PUB
If art mirrors identity, this is particularly the case in the Christian
Middle East. At first glance, the imposed minority position of the
various communities and inherent feelings of peril are the driving
forces behind the development of distinct artistic idioms, but on closer
inspection this bias does not entirely do justice to the achievements of
past generations. Churches would never have been erected and embellished
without the zealous support of individuals and groups who had the means
to realize such projects. This two-partite study deals with them and the
tangible results of their efforts.
The first part is devoted to
the considerable Christian material heritage in Egypt, from the Arab
conquest in the seventh century to the downfall of the artistic
production around the turn of the thirteenth/fourteenth centuries.
Coptic monasteries, churches and prayer rooms were decorated according
to their final functional use and specific needs, thus expressing a
distinct monastic identity. Another influential category was the wealthy
elite of lay nobles, in particular high-ranking state officials in the
Fatimid and Ayyubid service. They not only instigated the renovation and
decoration of urban churches, but were also committed to the
refurbishing of the papal churches in Old Cairo. In this matter,
specific attention is devoted to the involvement of Byzantine-trained
artists in the second half of the thirteenth century. In addition, the
churches and works of art of the other communities in Egypt, in
particular the Syrian Orthodox, are highlighted. The second part
discusses the revival of Christian art in Ottoman Egypt, Palestine, and
Syria from the seventeenth century onwards. Beside the re-emergence of
traditional elements, European influences are tangible all across the
board. This was the result of the increasing contacts between Europe and
the Middle East and the successful extension of the influences of the
Church of Rome to the Ottoman realm. Finally, the epilogue is devoted to
modern oriental Christian art as a means to express the identity of the
different communities.
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Middle East. At first glance, the imposed minority position of the
various communities and inherent feelings of peril are the driving
forces behind the development of distinct artistic idioms, but on closer
inspection this bias does not entirely do justice to the achievements of
past generations. Churches would never have been erected and embellished
without the zealous support of individuals and groups who had the means
to realize such projects. This two-partite study deals with them and the
tangible results of their efforts.
The first part is devoted to
the considerable Christian material heritage in Egypt, from the Arab
conquest in the seventh century to the downfall of the artistic
production around the turn of the thirteenth/fourteenth centuries.
Coptic monasteries, churches and prayer rooms were decorated according
to their final functional use and specific needs, thus expressing a
distinct monastic identity. Another influential category was the wealthy
elite of lay nobles, in particular high-ranking state officials in the
Fatimid and Ayyubid service. They not only instigated the renovation and
decoration of urban churches, but were also committed to the
refurbishing of the papal churches in Old Cairo. In this matter,
specific attention is devoted to the involvement of Byzantine-trained
artists in the second half of the thirteenth century. In addition, the
churches and works of art of the other communities in Egypt, in
particular the Syrian Orthodox, are highlighted. The second part
discusses the revival of Christian art in Ottoman Egypt, Palestine, and
Syria from the seventeenth century onwards. Beside the re-emergence of
traditional elements, European influences are tangible all across the
board. This was the result of the increasing contacts between Europe and
the Middle East and the successful extension of the influences of the
Church of Rome to the Ottoman realm. Finally, the epilogue is devoted to
modern oriental Christian art as a means to express the identity of the
different communities.
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Kunst Kunststile Christliche Kunst
- Geisteswissenschaften Kunst Künstlerische Stoffe, Motive, Themen Künstlerische Stoffe, Motive, Themen: Religiöse Themen
- Geisteswissenschaften Christentum, Christliche Theologie Christentum/Christliche Theologie Allgemein Christliche Kunst und Kultur
- Geisteswissenschaften Kunst Kunstgeschichte
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