In Late Antique Images of the Virgin Annunciate Spinning: allotting the scarlet and the purple, Catherine Gines Taylor traces the iconography and assimilation of the spinning motif from antiquity into early Christian representation of the Annunciation.
Artefact evidence has the unique power to illuminate many aspects of life that are rarely explored in written sources. This book presents the first in-depth study that uses everyday artefacts as its principal source of evidence to transform our understanding of the society and culture of Roman and Late Antique Egypt.
This collection of eleven new essays presents fresh, illuminating research by scholars who comparatively examine material, visual, and literary evidence to recover women’s religious experiences, perspectives, and activities in antiquity—perspectives often missing or underrepresented in the literary record.
Twenty chapters present the range of current research into the study of textiles and dress in classical antiquity, stressing the need for cross and inter-disciplinarity study in order to gain the fullest picture of surviving material. Issues addressed include: the importance of studying textiles to understand economy and landscape in the past; different types of embellishments of dress from weaving techniques to the (late introduction) of embroidery; the close links between the language of ancient mathematics and weaving; the relationships of iconography to the realities of clothed bodies including a paper on the ground breaking research on the polychromy of ancient statuary; dye recipes and methods of analysis; case studies of garments in Spanish, Viennese and Greek collections which discuss methods of analysis and conservation; analyses of textile tools from across the Mediterranean; discussions of trade and ethnicity to the workshop relations in Roman fulleries. Multiple aspects of the production of textiles and the social meaning of dress are included here to offer the reader an up-to-date account of the state of current research. The volume opens up the range of questions that can now be answered when looking at fragments of textiles and examining written and iconographic images of dressed individuals in a range of media. The volume is part of a pair together with Prehistoric, Ancient Near Eastern and Aegean Textiles and Dress: an interdisciplinary anthology edited by Mary Harlow, C_cile Michel and Marie-Louise Nosch
Art, Archaeology, and Ethnography of Female Material Culture from Late Roman to Post-Byzantine Times
Author: Sophia Germanidou
Secular Byzantine Women examines female material culture during the Late Roman, Byzantine, and Post-Byzantine eras, to better understand the lives of ordinary and humble women during this period. Although recent scholarship has contributed greatly to our knowledge of Byzantine and medieval women, such research has largely focused on female saints, imperial figures, and prominent women of local communities. But what about secular and non-privileged women? Bringing together scholars from various fields, including archaeology, history, theology, anthropology, and ethnography, this volume seeks to answer this important question. The chapters examine the everyday lives of lay women, including their working routines, their clothing, and precious possessions. This book will appeal to scholars and students of Byzantine history, art, and archaeology, as well as those interested in gender and material culture studies.
The Routledge Handbook of Early Christian Art surveys a broad spectrum of Christian art produced from the late second to the sixth centuries. The first part of the book opens with a general survey of the subject and then presents fifteen essays that discuss specific media of visual art—catacomb paintings, sculpture, mosaics, gold glass, gems, reliquaries, ceramics, icons, ivories, textiles, silver, and illuminated manuscripts. Each is written by a noted expert in the field. The second part of the book takes up themes relevant to the study of early Christian art. These seven chapters consider the ritual practices in decorated spaces, the emergence of images of Christ’s Passion and miracles, the functions of Christian secular portraits, the exemplary mosaics of Ravenna, the early modern history of Christian art and archaeology studies, and further reflection on this field called “early Christian art.” Each of the volume’s chapters includes photographs of many of the objects discussed, plus bibliographic notes and recommendations for further reading. The result is an invaluable introduction to and appraisal of the art that developed out of the spread of Christianity through the late antique world. Undergraduate and graduate students of late classical, early Christian, and Byzantine culture, religion, or art will find it an accessible and insightful orientation to the field. Additionally, professional academics, archivists, and curators working in these areas will also find it valuable as a resource for their own research, as well as a textbook or reference work for their students.
Ideals of character and beauty, and conceptions of self and society, were in flux during Late Antiquity, a period of extensive dramatic cultural upheaval for the Roman world, as the extraordinary growth of Christianity eclipsed paganism. Textiles from Late Antiquity document transformations of cultural traditions and societal values at the most intimate level of the individual body and the home. These textile artifacts are fragile, preserved only in arid conditions, often in fragments, and only rarely intact. The textiles selected for the exhibition Designing Identity at New York University’s Institute for the Study of the Ancient World present an aesthetic of vibrant colors, fine materials, technical virtuosity of professional production, and variations on designs that display personal identity in the clothing of men, women, and children, as well as hopes for prosperity and protection in the textile furnishings of households. Prized for their artistry since the earliest discoveries beginning at the turn of the nineteenth century, such textiles were eagerly collected by designers, artists, scholars, museums, and captains of industry. This exhibition catalogue explores the parallel histories of ancient textile production and consumption, and the modern business of collecting Late Antique textiles. Contributors include Jennifer Ball, Edward Bleiberg, Kathrin Colburn, Helen Evans, Christine Kondoleon, Brandie Ratliff, Thelma Thomas, and Elizabeth Williams. Exhibition schedule: Institute for the Study of the Ancient World New York University February 25, 2016 - May 22, 2016 http://isaw.nyu.edu/exhibitions/design-identity