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Bilder europäischer Reisender im Osmanischen Reich um 1700
Author: Annette Kranen
Die Sicht Reisender aus Nordwesteuropa auf den östlichen Mittelmeerraum war um 1700 durch die Bibel und antike Quellen, die Kreuzzüge und die osmanische Herrschaft geprägt. Wie fanden diese historischen Schichten Eingang in das Bild der Region, das ihre Zeichnungen und illustrierten Berichte hervorbrachten?
Reisende der Neuzeit fertigten Ansichten historischer Orte und Bauwerke im Osmanischen Reich für ein Publikum in Europa an. Diese Bilder wurden bislang meist als Quellen für die archäologische Forschung genutzt oder als Beleg für einen orientalistischen Blick gewertet. Die Studie beleuchtet sie erstmals in ihrem kulturhistorischen Kontext. Sie waren Teil eines breiten Austauschs über die Antike, für den auch der Kontakt mit lokalen Akteuren eine Rolle spielte. In drei Abschnitten zeigt das Buch auf, wie man das Reisen in die Länder der Bibel und der Antike verstand, wie man historisch bedeutende Topographien visualisierte und wie man sich Monumente und Relikte durch Zeichnen wie durch Sammeln aneignete.
Although we tend to suggest that clear constructions of identity are granted to religious symbols under the assumption that they distinguish between self and other explicitly, perceptions of alterity in fact play a vital role in sacral forms of representation. Markers of foreignness are used in a semantics of the exceptional that characterizes the sacral. Perceptions of difference are thus capable of making visible the remoteness of sacral forms from the profane world of experience. This book, therefore, asks: What role do traits of alterity play in the sacral context? How are various concepts of the sacred synthesized in situations of transcultural translation, for instance in the context of missionary activity? How did an artifact arrive at sacral potency in various cultures, and under what conditions did semantic shifts occur?
Narratives, Concepts, and Practices at work, 20th and 21st Centuries
Based on the papers presented at an international conference at the Freie Universität Berlin in 2013, the publication focuses on problems and challenges of art history’s epistemic frameworks. Following four guiding themes – narrations, venues, concepts and practice – the contributions address the aspect of mobility of aesthetic objects and their contextualisation from different analytical perspectives.
The essays examine complex processes of transcultural negotiations that are set in motion by »travelling« objects, artists, ideas and institutions in order to trace and analyse historical conditions that generated specific frameworks with their respective art historical narratives and artistic production.
Topographies of Artistic Mobility in Europe and Asia
While recent scholarship dealt with the economic and political historio-graphies of road systems, this book focuses on routes as stimuli of cultural transfer and artistic production.
Framed in the historiography of longue durée, routes may be addressed as trajectories that cut across cultural geographies and periodizations. With focus on the early modern period, the volume foregrounds an unprecedented expansion and transformation of route-networks. New combinations of transcontinental routes profoundly affected cultural topographies and symbolic paradigms. The rise of Asian and European port cities as nodes of maritime systems and prosperous cultural contact zones is closely linked to these shifts; routes, hubs, and the fabrication of collective imaginations about them therefore constitute the central themes of this book.
Essay on the Artist as Murderer
Why the myth of Daedalus, the protos euretes, is connected with envy and murder? The author takes as his starting point Ovid’s Metamorphoses, where Daedalus’ envy drives him to murder his pupil and nephew Perdix. He also considers the passage of Seneca the Elder, about the painter Parrhasius and the citizen from Olynthus, that he had tortured in order to paint the agony of Prometheus. The first case is a topos of the artist’s biography which implies, that the craft of the artisan was held as a guarded secret; the second is related to mimesis. The author questions what role the topos of the artist as murderer plays in text and imagery, from the Middle Ages to modern literature.