Identity and Christian-Muslim interaction : medieval art of the Syrian Orthodox from the Mosul area /
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Format: Book
Language: English
Published:
Leuven ; Walpole, Mass. :
Peeters,
2010.
Series:
Orientalia Lovaniensia Analecta ;
198.
OLA ;
198.
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Call Number: DS1 .O7 v.198
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| 008 | 130303s2010 be af g b 000 0 eng d | ||
| 952 | |0 0 |1 0 |2 lcc |3 V.198 |4 0 |6 DS0001 O7 V.00198 |7 1 |9 18271 |a ARCE |b ARCE |d 2021-08-30 |l 0 |o DS1 .O7 v.198 |p 1015844 |r 2021-08-30 00:00:00 |w 2021-08-30 |y BK | ||
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| 020 | |a 9789042923867 | ||
| 040 | |c ARCE Library | ||
| 043 | |a a-iq--- | ||
| 050 | 4 | |a DS1 .O7 v.198 | |
| 100 | 1 | |a Snelders, Bas, |e author |9 40251 | |
| 245 | 1 | 0 | |a Identity and Christian-Muslim interaction : |b medieval art of the Syrian Orthodox from the Mosul area / |c by Bas Snelders. |
| 264 | 1 | |a Leuven ; |a Walpole, Mass. : |b Peeters, |c 2010. | |
| 300 | |a xi, 591 pages : |b Illustrations (some color), plates ; |c 25 cm. | ||
| 490 | 1 | |a Orientalia Lovaniensia Analecta ; |v 198. | |
| 490 | 1 | |a OLA ; |v 198. | |
| 505 | 0 | |a •Preface •1. Context is Everything Identifying Identity in the Art of the Syrian Orthodox •1.1. The Study of Medieval Christian Art from the Middle East •1.2. Aim of the Present Research •1.3. Theoretical Framework •1.3.1. Community and Communal Identity •1.3.2. Ethnogenesis Theory •1.3.3. Art and Identity •1.3.4. Possible Identity Markers •A. Iconography •B. Style •C. Inscriptions •1.4. Delimitation of the Research Material •1.5. Summary •2. The Syrian Orthodox in their Historical and Artistic Settings •2.1. Northern Mesopotamia and Mosul •2.2. The Establishment of the Syrian Orthodox Church in Northern Mesopotamia •2.3. The Syrian Orthodox Church in the Mosul Area •2.4. Deir Mar Mattai versus Takrit •2.5. The Syrian Renaissance •2.6. Medieval Syrian Orthodox Church Decoration in Syria and Lebanon •A. Deir Mar Musa al-Habashi near Nebk, Syria •B. Church of Mar Tadros in Bahdeidat, Lebanon •2.7. Artistic Developments in Northern Mesopotamia and Related Areas •2.7.1. A Common Christian-Muslim Visual Culture •2.7.2. Mixed Workshops and Christian-Muslim Collaboration •2.7.3. Religious Convergence and Joint Christian-Muslim Veneration •2.8. The Golden Age of Mosul •3. Metalwork: The Liturgical Fan from Deir al-Surian •3.1. Introduction •3.2. General Description •3.3. Iconography and Style •3.3.1. The Enthroned Virgin Hodegetria in Vatican Syr. 559 and British Library Add. 7170 •3.3.2. The Enthroned Virgin Hodegetria at the Church of the Virgin in Mosul •3.3.3. The Enthroned Virgin Hodegetria on the Freer Canteen •3.3.4. Stylistic Analogies with a Group of Manuscripts from Northern Mesopotamia •3.3.5. A Comparison with Mosul Metalwork •3.4. Language of the Inscriptions and Religious Background of the Artist •3.5. Cultural Contacts between Deir al-Surian and Mesopotamia •3.5.1. Moses of Nisibis: Cultural Contacts in the Ninth and Tenth Century •3.5.2. Monks from Deir Mar Mattai: Cultural Contacts in the Twelfth and Thirteenth Century •3.6. Conclusion •4. Manuscript Illustration: Vatican Syr. 559 and British Library Add. 7170 •4.1. Introduction •4.2. Illustrated Islamic Manuscripts and the Contribution of Local Christians •4.3. General Description of Vat. Syr. 559 and BL Add. 7170 •4.4. Style •4.4.1. General Observations •4.4.2. The Production of Illustrated Syrian Orthodox Manuscripts during the Syrian Renaissance •4.4.3. The Production of Vat. Syr. 559 and BL Add. 7170 •4.5. Iconography •4.5.1. The Byzantine Contribution •4.5.2. The Middle-Eastern Contribution •4.6. Remarks about the Iconographic Programme of Vat. Syr. 559 •4.6.1. Function and Practical Purposes •4.6.2. Possible Propagandists Intentions •4.7. Questions of Identity •A. The Portraits of the Evangelists •B. The Forty Martyrs of Sebaste •C. Four Monastic Saints •D. Constantine and Helena •4.8. Conclusion •5. Wall Painting: The Church of Mar Giworgis in Qaraqosh •5.1. Introduction •5.2. General Description •5.2.1. Description of the Church and History of the Building •5.2.2. Description of the Wall Painting •5.3. Iconography •5.3.1. The Baptism of Christ •5.3.2. Frequently Recurring Subsidiary Figures •5.3.3. Baptism and Resurrection of Christ •5.3.4. An Accumulation of Resurrectional Symbolism •5.3.5. Baptismal Themes in the Syrian Orthodox Tradition •5.4. Style •5.5. Wider Historical and Artistic Context •5.6. Written Evidence for Medieval Wall Paintings in the Syrian Orthodox Church •A. Wall Paintings in Syrian Orthodox Churches in Central Mesopotamia •B. Wall Paintings at Deir Mar Barsauma near Melitene •C. Wall Paintings at Deir Mar Yuhanon bar Naggare near Bartelli •5.7. Conclusion •6. Sculptural Decoration in a Monastic Context: Deir Mar Behnam near Qaraqosh •6.1. Introduction •6.2. History of the Monastery: External and Internal Evidence •6.2.1. The Legend of Mar Behnam •6.2.2. Historical Sources and Inscriptions •6.3. Style •6.3.1. General Observations •6.3.2. Gates •6.3.3. Niches •6.3.4. Domes •6.3.5. Inscriptions •6.4. Iconography •6.4.1. Animal Motifs •A. Dragons •B. Lions •C. Birds •6.4.2. Human Figures and Narrative Scenes •A. Equestrian Saints •B. The First and Second Baptism of Mar Behnam •C. Six Monastic Saints •D. St Peter and St Paul •E. Veneration of the Cross by Angels •6.5. The Iconographic Programme and Its Meaning •A. Victory of the Cross and the Triumph of Christianity over its Enemies •B. A Genealogy of Syrian Orthodox Monasticism in the Mosul Area •6.6. Conclusion •7. Sculptural Decoration in a Parish Context: The Church of Mar Ahudemmeh in Mosul and the Church of Mart Shmuni in Qaraqosh •7.1. Introduction •7.1.1. The. Architecture of Syrian Orthodox Churches in the Mosul Area •7.1.2. The Symbolic Meaning of Liturgical Space in the Syrian Orthodox Tradition •7.2. The Church of Mar Ahudemmeh in Mosul •7.3. Style and Iconography of the Royal Gate at the Church of Mar Ahudemmeh •7.3.1. The Cross-Legged Seated Prince Holding a Cup •7.3.2. Mounted Falconers •7.3.3. Lion's Head and Dragon-Tailed Lions •7.3.4. Arabic Inscriptions •7.4. The Church of Mart Shmuni in Qaraqosh •7.5. Style and Iconography of the Royal Gate at the Church of Mart Shmuni •7.5.1. Style and Original Appearance of the Royal Gate •7.5.2. Cult and Iconography of Mart Shmuni and Her Sons •7.5.3. The Cross-Legged Seated Prince Dominating Lions •7.5.4. Military Attendants •7.5.5. The Royal Gate: Re-use, Specific Commission, or Stock Made? •7.5.6. The Turkish Ruler and his Military Attendants: Symbols of Christ and his Heavenly Army? •7.6. Conclusion •8. Inscriptions: Language and Dating Systems •8.1. Introduction •8.2. Language •8.2.1. Deir al-Surian and Deir Mar Musa •8.2.2. Illustrated Syrian Orthodox Manuscripts •8.2.3. Deir Mar Behnam and the Church of Mar Ahudemmeh •8.3. Dating Systems •8.4. Conclusion •9. Epilogue: Art as an Expression of Syrian Orthodox Identity? •9.1. Introduction •9.2. The Profile and Character of Syrian Orthodox Art •9.2.1. Regionalism •9.2.2. Artistic Interaction and the Relationship between Christian and Islamic Art •9.2.3. Monastic Context versus Parish Context •9.3. Identity in Word and Image: Future Avenues of Research •Figures and Plates •Abbreviations •Bibliography •List of Figures and Plates •Appendices •Appendix A. Description of Deir Mar Behnam •Appendix B. Twelfth- and Thirteenth-Century Inscriptions at Deir Mar Behnam •Select Index | |
| 555 | |a Nabil | ||
| 650 | 0 | |a Art, Medieval |z Iraq |z Mosul. | |
| 650 | 0 | |a Christian art and symbolism |z Iraq |z Mosul. | |
| 650 | 0 | |a Jacobites (Syrian Christians) |z Iraq |z Mosul. |9 11210 | |
| 830 | 0 | |a Orientalia Lovaniensia Analecta ; |v 198. | |
| 830 | 0 | |a OLA ; |v 198. | |
| 901 | |a reviewed | ||
| 942 | |c BK |2 lcc | ||