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2 results

  • 19 - Architecture and the Visual Arts

  • Edited by David Luscombe, University of Sheffield, Jonathan Riley-Smith, University of Cambridge
  • Book:
    The New Cambridge Medieval History
    Published online:
    28 March 2008
    Print publication:
    14 October 2004, pp 693-731

  • Summary

    The gap between history and art history is enshrined in the stylistic labels that art historians still use for the subdivisions of their subject. This chapter discusses Romanesque and early Gothic. Romanesque was the creation of a later age. It emerged in the early nineteenth century as the main French candidate in a competition to find an adequate name for the sort of architecture which preceded Gothic. The rise of architecture to parity of esteem with the so-called minor arts, which took place in the eleventh and twelfth centuries, was the truly momentous event in the art history of the middle ages. The image of the church became a compound of all the visual arts. It brought together architecture, sculpture and painting at their highest levels of attainment, and projected them upon the attention of the world at large with the single-mindedness of a marketing exercise.

  • 9 - THE VISUAL ARTS

  • Edited by R. N. Frye
  • Book:
    The Cambridge History of Iran
    Published online:
    28 March 2008
    Print publication:
    26 June 1975, pp 329-363

  • Summary

    This chapter discusses the traditional approach of Islamic art of Iran, first architecture and architectural decoration, then the so-called minor arts whose importance is far greater than their slightly pejorative name suggests. Northeastern Iranian ceramics provide examples of figural representations. The subjects are riders, dancers, standing or seated personages holding flowers and pitchers, as well as a number of unidentified activities. The greatest originality of these representations lies in their style. A sketchy line outlines the main subjects with very little consideration for bodily proportions and at times with distortions which could be considered as folk caricatures or as wilful modifications of visual impressions. There is a fairly large number of objects in metal which are commonly assigned to the period between the fall of the Sāsānian dynasty and the middle of the 5th/11th century.