TitleVisual Exegesis across Boundaries
Date/TimeTuesday 5 July 2022: 14.15-15.45
OrganiserIMC Programming Committee
Moderator/ChairDiane J. Reilly, Department of Art History, Indiana University, Bloomington
Paper 712-a The Genesis of Colour: Notes on the Use of Colours in MS Junius 11 Art
(Language: English)
Gesner Las Casas Brito Filho, Instituto de Filosofia e Ciências Humanas, Universidade Estadual de Campinas
Index Terms: Art History - Decorative Arts; Art History - General; Language and Literature - Old English; Manuscripts and Palaeography
Paper 712-b Visualising Jus bellum justum: Contextualising the Pro-Reform Exegesis of the Matilda Gospels (New York, The Morgan Library and Museum, MS M492)
(Language: English)
Blair Apgar, Department of Art & Design, Caldwell University, New Jersey
Index Terms: Art History - General; Crusades; Manuscripts and Palaeography; Women's Studies
Paper 712-c Establishing and Blurring Religious Boundaries in Le Devisement dou monde by Marco Polo
(Language: English)
Eleonora Tioli, Classe di Lettere e Filosofia, Scuola Normale Superiore di Pisa / Département d'histoire de l'art et d'archéologie, Université de Fribourg
Index Terms: Art History - Painting; Manuscripts and Palaeography; Mentalities; Pagan Religions
Paper 712-d Some Cross-Border Interactions in Armenian Art in the Middle Ages: Ecclesia and Synagogue Figures in the Iconography of the Crucifixion
(Language: English)
Canan Demirok, Department of Art & Culture Management, Istanbul Okan University
Index Terms: Art History - Painting; Byzantine Studies
AbstractPaper -a:
MS Junius 11 (Oxford, Bodleian Library, MS Junius 11) is one major early Medieval English illuminated manuscripts that has survived entirely. Junius 11 was produced around the year 1000 and was written in Old English. It has 48 illustrations within the first poem that is a poetic version of the Biblical Genesis. It is recognisable two artists who made the art. There are two applications of the colour in MS Junius11 drawings: outline, coloured outline, and filled colour inside some specific parts of the pictures. In this paper I will focus on the role and the technique in the use of colours in the illustrations of this manuscript, making connections with the poetry within the art.

Paper -b:
This paper will contextualise the selectively violent scenes within the 11th-century Gospels of Matilda of Canossa (New York, The Morgan Library and Museum, MS. M492), including the Cleansing of the Temple and the Kiss of Judas, within the biblical and exegetical framework of the jus bellum justum doctrine which arose from the greater shift towards papal supremacy. By contextualising the visual and exegetical content of this manuscript within the larger religious and political movements of the 11th century, this paper aims to question current perceptions of Matilda as a patron, inspect her role in the construction and execution of Papal supremacy, and how these ideals are represented throughout the Gospels.

Paper -c:
This paper deals with Le Devisement dou monde by Marco Polo and its illuminated manuscripts as sources on the Western perception of eastern religions. In particular, it stresses the boundaries between Christian and non-Christian religions according to which Marco Polo perceived religious otherness. Bloody sacrifices, idolatry, and cremation were considered as opposite of the Eucharistic sacrifice, faith, and burial. Moreover, this paper considers the cases in which the boundaries between Eastern and Western religions were blurred. In fact, Marco Polo remembered cities and places of worship (Saint Thomas's tomb at Madras and the Adam's Peak in Sri Lanka) in which Christians and Pagans coexisted.

Paper -d:
Armenian art, which is an important part of Eastern Christian art, has a different formal development in Caucasian art. Another trend of medieval Armenian art beyond the relationship between Byzantine art and the Caucasus is known. This trend is observed in the scene of iconography, in manuscript painting of Armenian art in the Middle Ages. The iconography of the crucifixion in Armenian art from its origin reflected a unique form development with links to Eastern Mediterranean art. However, there was an interesting richness in the composition of Malatian Gospel (1268), Queen Keran Gospel (1272) and Smbat Sparapet Gospel (14th century). In this richness, there is a remarkable stage development in which we can detect the influence of Italian art in the field of iconography. In this research, the special richness of medieval Armenian art in the scene of the crucifixion of Jesus was studied.