New Haven : Yale University Press, . ©2017.
- 203 pages : illustrations (chiefly color) ; 27 cm
- "In the rapidly changing world of the early Middle Ages, depictions of the cosmos represented a consistent point of reference across the three dominant states-the Frankish, Byzantine, and Islamic Empires. As these empires diverged from their Greco-Roman roots between 700 and 1000 A.D. and established distinctive medieval artistic traditions, cosmic imagery created a web of visual continuity, though local meanings of these images varied greatly. Benjamin Anderson uses thrones, tables, mantles, frescoes, and manuscripts to show how cosmological motifs informed relationships between individuals, especially the ruling elite, and communities, demonstrating how domestic and global politics informed the production and reception of these depictions. The first book to consider such imagery across the dramatically diverse cultures of Western Europe, Byzantium, and the Islamic Middle East, [it] illuminates the distinctions between the cosmological art of these three cultural spheres, and reasserts the centrality of astronomical imagery to the study of art history."--Jacket flap.
- Includes bibliographical references (pages 182-199) and index.
- Introduction: solitude and community -- 1. Tyranny and splendor -- 2. Declaration and transaction -- 3. Carolingian consensus -- 4. Byzantine dissensus -- Conclusion
- Shortcut help message
- Highlight search box
- Close dialog
Available in search results
- Next page
- Previous page
- Toggle filters
- Open nth result on page