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A wise enemy : the seventeenth-century Ottoman portrayal of the Polish commander Stanisław Żołkiewski (2022)

Yıldız, Özlem [VerfasserIn]

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UID:

gbv_1852075430

Format: Illustrationen

ISSN: 1846-8551

Content: This paper focuses on the visual and textual portrayal of the Polish commander and hetman (highest military officer), Stanislaw Żołkiewski (d. 1620), in an early 17th-century Ottoman illustrated history book, the Şehname-i Nadiri. Żołkiewski’s legendary memory was cemented in Polish history with his depictions in painting and literature. Yet, his depiction in a wellknown Ottoman book has largely escaped scholarly attention. The text of the Şehname-i Nadiri describes Żołkiewski as a wise and influential nobleman before it narrates his death on the battlefield by both lamenting the demise of a nobleman and celebrating the Ottoman victory. A painting of the Battle of Cecora in the same volume emphasizes his high rank and hints at the aftermath of his death. These textual and visual portrayals in the Şehname-i Nadiri offer an insight into representations of the Other in Ottoman historical narratives.

Note: Auf Englisch, Zusammenfassung auf Englisch und Kroatisch

In: Ikon, Rijeka, 2008, 15(2022), Seite 227-234, 1846-8551

In: volume:15

In: year:2022

In: pages:227-234

Language: English

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3

Article

Adapting antiquity : references to classical literature on early modern swedish medals (2020)

Haidenthaller, Ylva [VerfasserIn]

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UID:

gbv_1852066725

Format: Illustrationen

ISSN: 1846-8551

Content: One visual medium that is rather overlooked these days was particularly suited to the proclamation of great deeds and the insinuation of the always so fashionable flair of Antiquity, namely medallic art. This paper presents a selection of case studies exploring the use of ancient topoi illustrated on medals, and studying the purpose and significance of medals depicting early modern Swedish monarchs. Questions will be raised about how references to classical literature such as Ovid, Vergil or Horace are combined within the limits of a medal and in what way are the classical references reused and adapted to the new context. The aim of this paper is to provide a complement to the iconographic analysis by paying particular attention to the inscriptions and their connection to the images presented on medals. Subsequently, this will shed light on the innovative usage of classical literature on medals from early modern Sweden.

Note: Auf Englisch, Zusammenfassung auf Englisch und Kroatisch

In: Ikon, Rijeka, 2008, 13(2020), Seite 303-314, 1846-8551

In: volume:13

In: year:2020

In: pages:303-314

Language: English

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4

Article

Afterlife Studies and the Occasio Grisaille in Mantua (School of Mantegna, 1495-1510) (2020)

Baert, Barbara [VerfasserIn]

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UID:

gbv_1852063823

Format: Illustrationen

ISSN: 1846-8551

Content: This essay features a grisaille fresco depicting the Kairos/Occasio motif. A female figure with hair in front of her face and a bald crown moves with winged feet on top of a globe. Her clothing billows dynamically in the wind. She is a contrast to the woman with headgear, who has been placed on a rectangular pedestal and is keeping a young man from chasing the winged woman. He stretches out his arms to her in vain. The iconography of this grisaille crystallizes a longue duree of ‘the right moment’ or the fleeting opportunity. The grisaille illuminates a historical juncture in which the Fortuna/Occasio motif fascinated families of art patrons such as the Gonzagas, Sforzas and Estes. The grasping of the moment in the fresco also allows us to begin to grasp what ‘the unique opportunity’ meant for the people in the 15th century. Furthermore, the iconography of the grisaille has a key position in the transition from Middle Ages to Renaissance. This transition coincided with an iconographic conflation of Kairos and Occasio. The hybrid forms arose with the new, humanist understanding of human destiny. Likewise, the Mantuan grisaille embodies a modern depiction of this conflation in relation to the course of man’s life and their responsibilities to society. The fresco literally possesses the energy of a kairotic juncture, and enables a better understanding of 15th-century humanism through the lens of what the virtue-mediated relationship between human being and fate makes possible.

Note: Auf Englisch, Zusammenfassung auf Englisch und Kroatisch

In: Ikon, Rijeka, 2008, 13(2020), Seite 95-108, 1846-8551

In: volume:13

In: year:2020

In: pages:95-108

Language: English

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5

Article

An inquiry into the image of jews in 15th-century Istria : the iconography of the jewish-christian dispute (2022)

Čapeta Rakić, Ivana [VerfasserIn] ; Capriotti, Giuseppe [VerfasserIn]

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UID:

gbv_1852070420

Format: Illustrationen

ISSN: 1846-8551

Content: The external features of religious Otherness in Christian iconography have long been known and specified. In the late Middle Ages, numerous paintings were created on the Istrian peninsula in which the external features, predominantly those of the Jews, can be recognized. In this preliminary research, we recognized such attributes on the frescoes in Pazin, Lindar, Lovran, Beram, Gračišće, Svetvinčenat, Pićan and Vižinada. Comprehensive research on this topic in the aforementioned territory, however, has yet to be conducted. In this essay the focus of our research is directed towards Lindar, Beram and Vižinada, with a special emphasis on the topics of Disputes of Christians and Jews in the iconography of painted narratives. In the church of St Catherine in Lindar a very complex iconography of the Living Cross can be found between the personifications of the Church and the Synagogue. These topics emerged from a treatise attributed to St Augustine, in which the Christian truths contrast with Jewish traditions. In Beram and Vižinada the theme of the Jewish-Christian dispute is visualized through the iconography of Christ among the Doctors, in which the painters intensify the expressions of disagreement and confusion of the Jews, represented by means of specific clothes and gestures. At the same time, we will endeavor to explore and explain the emergence and the presence of these topics within the geopolitical context.

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In: Ikon, Rijeka, 2008, 15(2022), Seite 43-56, 1846-8551

In: volume:15

In: year:2022

In: pages:43-56

Language: English

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6

Article

Anachronism at work : villains and enemies as Turks in early modern religious art in Genoa and Liguria (2022)

Stagno, Laura [VerfasserIn] ; Borniotto, Valentina [VerfasserIn]

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UID:

gbv_1852073659

Format: Illustrationen

ISSN: 1846-8551

Content: In western Early Modern imaginaire, the Ottoman enemy was often perceived, at a symbolic level, as the quintessence of threat and persecution against the Catholic faith. Figures of ‘Turks’, identified by way of easily recognizable attributes (such as the turban), were therefore substituted for other, radically different characters in a plurality of visual narratives. In a semantically significant anachronism, Turks populated Old and New Testament scenes as well as the depictions of the martyrdoms of Christians persecuted by the Romans in the first centuries. In parallel, the same attributes were also sometimes superimposed on the figures of other, contemporary enemies of the faith, who lacked an established iconographic tradition of their own: namely the Protestant ‘heretics’. This paper aims to illustrate this visual device through a selection of significant case studies taken from the territory of the Republic of Genoa, a state characterized by a long-standing involvement in the fight against Ottoman forces and Barbary corsairs.

Note: Auf Englisch, Zusammenfassung auf Englisch und Kroatisch

In: Ikon, Rijeka, 2008, 15(2022), Seite 151-162, 1846-8551

In: volume:15

In: year:2022

In: pages:151-162

Language: English

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7

Article

Ancient greek figures in renaissance Germany via Italy : Cyriacus of Ancona’s drawings and their distorted perception (2020)

Koutsogiannis, Thodoris [VerfasserIn]

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UID:

gbv_1852064528

Format: Illustrationen

ISSN: 1846-8551

Content: Cyriacus of Ancona was a pioneer in the representation of Greek antiquities in the Renaissance. Even though the full corpus of his travel diaries - entitled Commentaria, in which he drew the antiquities he had seen in person - has not survived, a good number of entire iconographic themes and isolated motifs have been preserved in copies. They present various figures from Greek antiquities, some of which also passed into the original artistic production of Renaissance Italy, but sometimes in an erroneous form. The present paper is focused on specific motifs with ancient Greek figures that reached Germany through Italy, and were used in all’antica art and antiquarianism. Certain drawings of antiquities from the Cyclades and Athens that Cyriacus of Ancona had depicted between 1436 and 1445 have been preserved in the Codex Monacensis Latinus 716 by physician Hartmann Schedel, prime mover in the humanistic circle of Nuremberg. However, his copyist was not familiar with the ancient motifs that appeared in the originals, which is why they have been ‘transcribed’ erroneously. Thus when they were brought to Nuremberg, a number of distorted themes were presented as being authentic ancient Greek motifs, and were used as such by artists and antiquarians. Presented here specifically are the god Hermes, a dolphin rider from a known monument in Athens, and a grave stele from Cyclades. These figures were incorporated into drawings by Albrecht Durer and into woodcuts illustrating the collection of inscriptions by Petrus Apianus and Barotholomeus Amantius Inscriptiones sacrosanctae vetustatis (Ingolstadt 1534). They, in turn, exerted a broader influence on the all’antica visual culture.

Note: Auf Englisch, Zusammenfassung auf Englisch und Kroatisch

In: Ikon, Rijeka, 2008, 13(2020), Seite 149-164, 1846-8551

In: volume:13

In: year:2020

In: pages:149-164

Language: English

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8

Article

Ancient survivals, ingenious meanings : ionographic echoes and symbols of Dante’s Iphigenia in the sienese art of the early Renaissance (2020)

Drăgan, Simona [VerfasserIn]

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UID:

gbv_1852064374

Format: Illustrationen

ISSN: 1846-8551

Content: The story of Iphigenia was in wide circulation in the Hellenistic period and then revived in the Renaissance with many later Baroque and Neoclassical additions. Nevertheless, the character of Agamemnon’s eldest daughter also survived through medieval times, not only in the acknowledged continuity of forms from ancient models surviving on sarcophagi, Byzantine manuscripts, etc. but also in some forms of theological culture or late medieval vernacular literature (like Dante’s Commedia) where the literary motif of Iphigenia was twisted and given particular meanings relating to ideas or concerns that were not originally acknowledged in Antiquity. Against the very mention of Iphigenia in Divina Commedia, I will present two rare - if not almost unrecognizable - uses of her Dantesque image and symbol in the Sienese art of the early Renaissance. A fresco by Domenico di Bartolo and a manuscript of Dante’s Paradise illuminated by Giovanni di Paolo, both accomplished in the same decade of Quattrocento, will serve as case studies. I will therefore pursue my theses on two Sienese contemporary artists and on two different visual media, with particular analyses of the cultural and theological backgrounds, local context and artistic motifs.

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In: Ikon, Rijeka, 2008, 13(2020), Seite 135-148, 1846-8551

In: volume:13

In: year:2020

In: pages:135-148

Language: English

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9

Article

Ancient water-god in the residences of early modern Dubrovnik (2020)

Baće, Antun [VerfasserIn] ; Zeman, Maja [VerfasserIn]

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UID:

gbv_1852066482

Format: Illustrationen

ISSN: 1846-8551

Content: In the middle of the 16th century, as a prominent feature of the most representative decorative element of Dubrovnik palaces and villas - stone wash-basin - a head of a bearded man with dolphins or scrolls appeared. This figure, as well as the specific shape of basins to which it was applied, became common and in time replaced all other motifs and decorative elements. The ancient origin of the motif has long been observed, but was not interpreted more closely. The aim of the paper is to present the results of a detailed research, based equally on the written sources and the iconographic analysis. As the research reveals, all the elements of this relief representations - with some variations - were brought together to form a well-defined composition, thus referring to the specific prototype: depiction of the ancient Oceanus in Roman art. In the early modern period, this prototype was even used in respect to its original meaning, as is shown by the more contextualized interpretation of ancient narratives concerning Eastern Adriatic coast, as well as the works of Dubrovnik humanists. Among latter, De raptu Cerberi of Jakov Bunić, with its description of Heracles journey in the Oceanus’ world, referred to contemporary model, constructed in the environment of the early 16th-century papal Rome, where Dubrovnik humanists found their strongholds in specific social circles. Transferred and further developed in the local sphere it became a personal sign of Dubrovnik’s elite, equally representing the western culture built on the ancient tradition.

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In: Ikon, Rijeka, 2008, 13(2020), Seite 277-292, 1846-8551

In: volume:13

In: year:2020

In: pages:277-292

Language: English

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10

Article

Andrea Mantegna and the iconography of mourners: Aby Warburg’s notion of Pathosformeln and the theory of aesthetic response (2020)

Tononi, Fabio [VerfasserIn]

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UID:

gbv_1852063637

Format: Illustrationen

ISSN: 1846-8551

Content: This study proposes a novel analysis of Lamentation Over the Dead Christ (c. 1470-1480) by Andrea Mantegna (1431-1506) and the iconography of mourners. Particularly, it focuses on the role played by the three mourners in enhancing the emotional contagion of the painting. In creating this scene, Mantegna relied on the tradition of the iconography of mourners, which is characterised by particular gestures and facial expressions recurrent across centuries and cultures. Aby Warburg named these types of schemes Pathosformeln (formulas of pathos). He also pointed out that humans’ creation and comprehension of these formulas resides within a precise mental faculty: the social memory. Warburg’s assumption seems to be confirmed by recent neuroscientific and neuroaesthetic research on the perception of emotions, whether in life or in still works of art. As empirical data indicate, observing a situation such as the one depicted on the left-hand side of Mantegna’s Lamentation activates the same neural network in the beholder as would be activated in those figures, thus mirroring the emotion (i.e. grief ) conveyed by their physical and physiognomical expression. This explains the universality of both the representation and (visceral) understanding of the iconography of mourners and the emotion it conveys to people of every period and context. Furthermore, these considerations expose a topic addressed for the first time in this study, that is, the extent to which the beholder empathises with the dead body of Christ, the central figure of the painting, which does not express any emotions.

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In: Ikon, Rijeka, 2008, 13(2020), Seite 79-94, 1846-8551

In: volume:13

In: year:2020

In: pages:79-94

Language: English

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Kooperativer Bibliotheksverbund

Berlin Brandenburg