Medieval South Caucasus
Artistic Cultures of Albania, Armenia and Georgia
Edited by I. Foletti Edited by E. Thuno
Paperback (Published)
(October 2016)
ISBN: 9788021083226
8.23 x 10.59 inches
Price: $95.00
Out of stock
The volume serves as an introduction to what its editors have chosen to call the “artistic cultures” prevalent during the Middle Ages in the region of the South Caucasus. Although far from comprehensive in terms of material, chronology and geography, the volume intends to raise awareness of a region whose artistic wealth and cultural
The volume serves as an introduction to what its editors have chosen to call the “artistic cultures” prevalent during the Middle Ages in the region of the South Caucasus. Although far from comprehensive in terms of material, chronology and geography, the volume intends to raise awareness of a region whose artistic wealth and cultural diversity has remained relatively unknown to most medievalists. Stretching from Eastern Anatolia and the Black Sea in the West to the Caspian Sea in the East, and from the snow-capped Great Caucasus mountain range in the north to the Armenian highlands in the south, medieval southern Caucasia was originally divided into the kingdom of Caucasian Albania, Greater and Lesser Armenia, and western and eastern Georgia, that is, the kingdoms of Lazica (Egrisi) and Iberia (Kartli) respectively. Together, these entities made the South Caucasus a true frontier region between Europe and Asia and a place of transcultural exchange. Its official Christianization began as early as in the fourth century, even before Constantine the Great founded Constantinople or had himself been converted to Christianity. During the subsequent centuries, the region became a well-connected and strategic buffer zone for its neighboring and occupant Byzantine, Persian, Islamic, Seljuk and Mongol powers. And although subject to constantly shifting borders, the medieval kingdoms of the South Caucasus remained an internally diverse yet shared and distinct geographical and historical unity. Far from being isolated, these cultures were part of a much wider medieval universe. Because of the transcultural nature and elevated artistic quality of their objects and monuments, they have much to offer the field of art history, which has recently been challenged to think more globally in terms of transculturation, movement and appropriation among medieval cultures.
- Edited by I. Foletti
- Edited by E. Thuno
Other Titles in this Series
Transformed by Emigration
Welcoming Russian Intellectuals, Scientists and Artists (1917-1945)
Volume 4
Entangled Histories at Conques
Interdisciplinary Perspectives on a Unique Site of Medieval Heritage
Volume 15
Radical Turn?
Reappropriation, Fragmentation, and Variety in the Postclassical World (3rd-8th c.)
Volume 10
Similar Books
Innovation and Medieval Communities
The Circulation of Ideas and Practices in and out of the Town (1200-1500)
Volume 63
Medieval Yeghegis, Armenia
History, Archaeology, Society. Local Multiplicities and Global Connections of a Rural Centre on the Silk Road(s)
Naples as Laboratory / Laboratorium Neapel
Style Options, Artistic Rivalry and Self Fashioning in Neapolitan Baroque Painting / Plurale Stilbildung, Kunstlerkonkurrenz und Self Fashioning in der neapolitanischen Barockmalerei
Nurturing the Elite
Representations of Drinking, Eating, and Religious Vessels in Palmyrene Funerary Iconography
Volume 13
Power and Women in Southeast and Central Europe in Late Medieval and Early Modern Period (1300-1600)
Volume 10
Technical Studies of Asian Art
Proceedings of the Seventh Forbes Symposium at the Freer Gallery of Art
Women in Late Antiquity and the Early Middle Ages
Studies from Western Europe and North Africa
Volume 44
Los oficios de los diplomas latinos de la Cataluna altomedieval
Estudio de las innovaciones lexicas: XI Premio Internacional de Tesis Doctorales Fundacion Ana Maria Aldama Roy de Estudios Latinos
Volume 106
A Communication Ethic of Dialogic Reformation
Nicholas of Cusa on Care for Communities in Crisis
Volume 106
