Description
Inscriptions convey meaning not just by their contents but also by other means, such as choice of script, location, scale, spatial organisation, letterform, legibility and clarity. The essays in this book consider these visual qualities of inscriptions, ranging across the Mediterranean and the Near East from Spain to Iran and beyond, including Norman Sicily, Islamic North Africa, Byzantium, medieval Italy, Georgia and Armenia. While most essays focus on Late Antiquity and the Middle Ages, they also look back at Achaemenid Iran and forward to Mughal India. Topics discussed include real and pseudo-writing, multilingual inscriptions, graffiti, writing disguised as images and images disguised as words. From public texts set up on mountainsides or on church and madrasa walls to intimate craftsmen's signatures, barely visible on the undersides of precious objects, the inscriptions discussed in this volume reveal their meanings as textual and visual devices.
This book considers the visual qualities of inscriptions from a cross-cultural perspective focusing on the period from Late Antiquity to the Middle Ages.
About the Author
Antony Eastmond is A. G. Leventis Reader in the History of Byzantine Art at the Courtauld Institute of Art, University of London. He has written extensively on the art and culture of medieval Georgia and its relations with Byzantium. He also works on Byzantine ivories. He is the author of The Glory of Byzantium and Early Christendom (2013), as well as Art and Identity in Thirteenth-Century Byzantium: Hagia Sophia and the Empire of Trebizond (2008) and Royal Imagery in Medieval Georgia (1998). He has published articles in the Art Bulletin, Art History, Dumbarton Oaks Papers and Speculum. He currently holds a Leverhulme Major Research Fellowship and is working on a study of cultural interaction in eastern Anatolia on the eve of the Mongol invasions.
Reviews
'This volume tidily bridges the gap between textual and visual studies, and shows the functionality of inscriptions as more than just a literary device throughout various periods of history. It is a welcome addition to the study of space, place and communication in the medieval world.' Brittany Thomas, Medieval Archaeology
Book Information
ISBN 9781107092419
Author Antony Eastmond
Format Hardback
Page Count 275
Imprint Cambridge University Press
Publisher Cambridge University Press
Weight(grams) 790g
Dimensions(mm) 262mm * 186mm * 22mm
This book considers the visual qualities of inscriptions from a cross-cultural perspective focusing on the period from Late Antiquity to the Middle Ages.
About the Author
Antony Eastmond is A. G. Leventis Reader in the History of Byzantine Art at the Courtauld Institute of Art, University of London. He has written extensively on the art and culture of medieval Georgia and its relations with Byzantium. He also works on Byzantine ivories. He is the author of The Glory of Byzantium and Early Christendom (2013), as well as Art and Identity in Thirteenth-Century Byzantium: Hagia Sophia and the Empire of Trebizond (2008) and Royal Imagery in Medieval Georgia (1998). He has published articles in the Art Bulletin, Art History, Dumbarton Oaks Papers and Speculum. He currently holds a Leverhulme Major Research Fellowship and is working on a study of cultural interaction in eastern Anatolia on the eve of the Mongol invasions.
Reviews
'This volume tidily bridges the gap between textual and visual studies, and shows the functionality of inscriptions as more than just a literary device throughout various periods of history. It is a welcome addition to the study of space, place and communication in the medieval world.' Brittany Thomas, Medieval Archaeology
Book Information
ISBN 9781107092419
Author Antony Eastmond
Format Hardback
Page Count 275
Imprint Cambridge University Press
Publisher Cambridge University Press
Weight(grams) 790g
Dimensions(mm) 262mm * 186mm * 22mm
