Hildesheim Avant-Garde: Bronze, Columns, and Colonialism

Weinryb, Ittai

doi:10.1086/698705

Cited by 3 publications

(1 citation statement)

References 37 publications

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“…As Kessler remarks in his seminal contribution to the study of silver's materiality, Bede the Venerable or St Gregory the Great commented on the agency of the metal, with the Roman Pontiff mentioning in his Moralia in Job that "Sacred speech is mostly compared to silver [...] because they (the objects) shine with the splendour of the virtues of the Father ...". 38 By the time the Fuentes Cross was perhaps being made, the French monk and author Thomas of Perseigne, also quoted by Kessler, related the duality gold/silver to Christ's dual nature, further explaining that refining silver established a par-34 Kessler 2011;Walker-Bynum 2011;Kumler and Lakey 2012;Weinryb 2013Weinryb , 2016Weinryb , 2018 35 Raddatz 1969;Domergue 1990;Blázquez 1996. 36 Santos Yanguas andCartes Hernández 2002-2003.…”

Section: A Shining Visionmentioning

confidence: 99%

A silver cross-reliquary and its patroness in twelfth-century rural Asturias

Viejo

2021

Hisp. Sacra

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La cruz-relicario de San Salvador de Fuentes es un suntuoso crucifijo hecho principalmente de madera y plata creado a finales del siglo XII para esta importante parroquia del concejo de Villaviciosa, en Asturias. El objeto es propiedad del Metropolitan Museum of Art de Nueva York desde 1917. El objetivo del presente trabajo es el de analizar el simbolismo iconográfico y los usos litúrgicos del crucifijo para luego contextualizar el patronazgo de la comitente del objeto, la noble local Sancha, y la creación de este relicario en la vida religiosa de la zona.

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Section: A Shining Visionmentioning

confidence: 99%

A silver cross-reliquary and its patroness in twelfth-century rural Asturias

Viejo

2021

Hisp. Sacra

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Horror Vacui: Racial Misalignment, Symbolic Repair, and Imperial Legitimation in German National Socialist Portrait Photography

Skarpelis

2023

American Journal of Sociology

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Racial purity and supremacy were core to Nazi Germany's claims to European dominion. At the same time, their very own "racial scientific" research showed that most Germans were "mixed-race." Given the dissonance between phenotypical aspirations to a Nordic ideal and the reality of a largely non-blond German population, how did the National Socialist regime maintain legitimacy to rule? Anthropologists, bureaucrats and artists resolved this racial misalignment through horror vacui racialization, an excessive social classification that manifested as a racializing turn inwards aimed at Christian Germans. I theorize the role of culture and art in stabilizing race-based rule in authoritarian and colonial contexts through racial repair that realigns desired and actual racial selfunderstandings. The article shows how an ostensibly biologically essentialist regime strategically used racial relativism in science, politics and popular culture. I outline the sociological implications for the sociologies of culture; race and ethnicity; theories of the state and of empire and science and technology studies.

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“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)

Negrău

2024

Religions

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In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage.

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Hildesheim Avant-Garde: Bronze, Columns, and Colonialism

Cited by 3 publications

References 37 publications

A silver cross-reliquary and its patroness in twelfth-century rural Asturias

A silver cross-reliquary and its patroness in twelfth-century rural Asturias

Horror Vacui: Racial Misalignment, Symbolic Repair, and Imperial Legitimation in German National Socialist Portrait Photography

“The Gates of Eternal Life”: Metamorphosis and Performativity in Middle to Late Byzantine Sculpted Church Doors (with a Case Study of a Wallachian Wooden Door)

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