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By Jill Caskey;Adam S. Cohen;Linda Safran

This quantity techniques the matter of the canonical middle via taking a look at paintings and structure at the borders of the medieval international, from China to Armenia, Sweden, and Spain. Seven members have interaction 3 certain but similar difficulties: margins, frontiers, and cross-cultural encounters. whereas now not showing a unified technique or privileging particular theoretical constructs, the essays emphasize how suggestions of illustration articulated possession and identification inside of contested arenas. what's contested is either medieval (the fabric facts itself) and sleek (the scholarly traditions within which the facts has or has no longer been embedded). An creation by way of the editors locations the essays inside historiographic and pedagogical frameworks. participants: J. Caskey, okay. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.

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What we have here are political circumstances similar to those of the Farhi Bible; we are also dealing with the interests of a cultural elite different, 26 27 For a detailed description of this situation, see Kogman-Appel, Jewish Book Art, Chapter 6. This process was described in detail in Kogman-Appel, Haggadot, 135-165. 24 katrin kogman-appel however, from Elisha’s. This elite preferred to cope with a Jewish-Christian cultural exchange. Even though it was problematic in view of the religious tension between the two societies, it suited the cultural needs of this elite better than an exchange with Islam.

A transfer of cultural elements (in the form of figural motifs) had thus occurred. Around 550, Jews suddenly ceased to use such models and Jewish art began to be exclusively aniconic, refraining from any kind of figural expression. 20 Figural motifs not associated with the cult of icons had been found suitable to be transferred into Jewish culture; when such motifs changed their meaning and became objects of cult, resistance was manifest. 21 The transfer of cultural elements is a process that involves active decision making and depends on motivation determined by political, cultural and social circumstances.

This view is taken up again by Dodds, Menocal and Balbale in Arts of Intimacy, chapter 7, “Brothers,” 241-264; notes, 289. 9 For the “shared court style” argument, see Jerrilynn D. Dodds, “Mudejar Tradition and the Synagogues of Medieval Spain,” in Dodds, Glick, and Mann, eds, Convivencia, 113-132, and María Teresa Pérez Higuera, “El Mudéjar, una opción en la Corte de Castilla y León,” in Manuel Valdés Fernández, María Teresa Pérez Higuera, and Pedro Lavado Paradinas, eds, Historia del Arte de Castilla y León, IV, Arte mudéjar en Castilla y León (Valladolid: Ámbito, 1994), 129-222.

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