CFP: ‘Behold a Pale Horse’: Eschatology of the Medieval East and West, ICMS 2021, deadline 15 September 2020

Session Hosts: Sarah Mathiesen (Florida State University) and Britt Boler Hunter (Florida State University)

The COVID-19 pandemic has provoked a revival of Apocalyptic fears. Widespread anxiety in response to the pandemic leads us to ponder how medieval people conflated fears of disease with fears of the End Times. What is the dynamic between medieval diseases and the End? What did individual religious, political, or social communities see as signs of the Apocalypse?


Our aim is to cultivate a conversation about eschatology in the medieval East and West. This is an interdisciplinary, global, and cross-chronological panel that welcomes papers addressing the interaction of disease and eschatological belief in the medieval world. We define the topic of “disease” broadly, from physical illness and mental health to social, religious, or political maladies.
We encourage papers from scholars of all disciplines, particularly PhD students and ECRs.
Suggested topics include but are not limited to:

  • Medieval eschatological theology and traditions
  • Plague, illness, and disease as indication of End Times
  • Social or cultural ailments as Signs of the Times
  • Religious eschatological sects or heresies
  • Practical or how-to material relating to personal or religious eschatology
  • Art and imagery of death, disease, and the Apocalypse
  • Anxiety and mental health in the Middle Ages
  • Psychology of medieval illness and/or eschatology
  • Medieval culture surrounding death

Submissions: Please submit through the ICMS portal (wmich.edu/medievalcongresss/submissions), session ID: 1344S

Deadline: September 15, 2020

New Publication: The Conservation of Medieval Polychrome Wood Sculpture

Conservators Michele Marincola and Lucretia Kargère have published a new volume on the history, theory, and practice of the conservation of medieval sculpture.

Medieval polychrome wood sculptures are highly complex objects, bearers of histories that begin with their original carving and adornment and continue through long centuries of repainting, deterioration, restoration, and conservation. Abundantly illustrated, this book is the first in English to offer a comprehensive overview of the conservation of medieval painted wood sculptures for conservators, curators, and others charged with their care.

Beginning with an illuminating discussion of the history, techniques, and meanings of these works, it continues with their examination and documentation, including chapters on the identification of both the wooden support and the polychromy itself–the paint layers, metal leaf, and other materials used for these sculptures.

Published by The Getty Conservation Institute, this volume also covers the many aspects of treatment: the process of determining the best approach; consolidation and adhesion of paint, ground, and support; overpaint removal and surface cleaning; and compensation. Four case studies on artworks in the collection of The Cloisters in New York, a comprehensive bibliography, and a checklist to aid in documentation complement the text.

Purchase a copy today on the GCI’s website.

Michele D. Marincola is Chair of the Conservation Center at the Institute of Fine Arts, NYU. Lucretia Kargère is the principal conservator at The Met Cloisters.

CFP: British Archaeological Association sponsored panels at International Medieval Congress (Leeds 2021), deadline 21 September 2020

The British Archaeological Association are now welcoming paper proposals for BAA organised sessions at the 2021 International Medieval Congress at the University of Leeds (5 -8 July 2021).

The IMC’s research theme for 2021 is “Climates”, a topic which can be interpreted in numerous ways:

  • Medieval concepts of ‘climes’ and ‘climate’
  • Cosmologies, world views, natural or supernatural causation
  • Ecocriticism, critical race theory, indigenous knowledge, ecofeminism, queer ecology
  • Weather and weathering
  • Medieval enquiry into weather, seasons, monsoon patterns
  • Astronomical and astrological observations and predictions
  • Agriculture, pastoralism, modification of landscapes, exploitation of resources, inequality, colonialism
  • Environmental determinism, medieval histories of modern inequalities
  • Societal organisation, hierarchy, law- making, governance
  • Applying paradigms of adaption, resilience, and collapse
  • Ecosystems, entanglements, human and non-human agency
  • ‘Climates’ of opinion, thought, feeling
  • Disease, pathogens, and microbes
  • Relationships between climate change and human history
  • Interdisciplinarity and integration of historical climate and environmental data
  • ‘Provincialising Europe’: Writing history on the ‘planetary’ or biospheric scale
  • ’Climates’ and interregional connectivities, interdependencies and disconnections
  • Fluctuations in migration, mobility, trade, exchange, and transmission
  • Seas, oceans, rivers, monsoon, floods as dynamic spaces
  • Medievalists, politics, climate justice, pedagogy, and activism
  • Preservation of material remains amid growing climate and societal instability

A full list of suggested topics and more details can be found here: https://www.imc.leeds.ac.uk/2021-climates/

It is hoped that we can organise several sessions once again, with similar papers grouped together (either methodologically or by subject).

Proposals should consist of a paper title, your affiliation, and a short abstract (50-100 words).

Please send paper proposals to Harriet Mahood (hpmahood@gmail.com) by Monday 21st September 2020.

Online Exhibition: Caravans of Gold, Fragments in Time: Art, Culture, & Exchange Across Medieval Saharan Africa

Journey to a medieval world with Africa at its center.

Travel along routes crossing the Sahara Desert to a time when West African gold fueled expansive trade and drove the movement of people, culture, and religious beliefs. Caravans of Gold is the first major exhibition addressing the scope of Saharan trade and the shared history of West Africa, the Middle East, North Africa, and Europe from the eighth to sixteenth centuries. Weaving stories about interconnected histories, the exhibition showcases the objects and ideas that connected at the crossroads of the medieval Sahara and celebrates West Africa’s historic and underrecognized global significance.

Journey across the various sections of the online exhibition here.

The exhibition Caravans of Gold has been developed in consultation with an international group of advisors, each experts in a specialized area that contributes to the big picture that the exhibition conveys. It has also emerged in partnership with institutions and individuals in Mali, Morocco, and Nigeria. In the exhibition and the interviews below we hear directly from the individuals whose work and perspective shaped the exhibition – you can watch some of these interviews here.

CFP: Communicating Objects: Material, Literary & Iconographic Instances of Objects in a Human Universe in Antiquity & the Middle Ages, Online Conference (27–29 November 2020), deadline 14 September 2020

Communicating Objects: Material, Literary and Iconographic Instances of Objects in a Human Universe in Antiquity and the Middle Ages, University of Bucharest [Online], 27–29 November 2020

Material culture occupies a special place in most research conducted on Antiquity and the Middle Ages. Interdisciplinary approaches have allowed for the enrichment of traditional paradigms used by archaeologists and historians, as a follow-up to the valorisation of the social life of things, or of the agency characterising objects in any given society. Objects which are deliberately associated are more susceptible of becoming expressive in the presence of humans. From this perspective, associating objects, and exploring potential reasons for their association and for their compatibility, opens up multiple possibilities for reflection.

Here are some suggested topics, meant to inspire, without limiting, the participants’ choice of subject matter:

  • the place of associated objects in literary sources. Suggested lines of investigation: the place of associated objects in literary discourses, their role in the construction of characters or as vehicles used to advance the action, to create images or to emphasize key moments in the economy of the texts; the practices of writing about objects, ways of selecting and including them in texts, and the study of certain characteristics of objects judged as indispensable to the fulfillment of said objects’ narrative roles.
  • the place of associated objects in constructing images, be they objects carrying images or objects being represented. Suggested lines of investigation: the manners of representing objects, the objects’ insertion in representations and their contributions to visually illustrated discourses.
  • the intrinsic materiality of objects places the discussion in the field of archaeology. From this perspective and for the purpose of a better investigation of associated objects and their potential meanings, one (though by no means the only) possible line of enquiry would turn the researcher’s gaze towards funerary archaeology.

Beyond these suggestions, the synchronic and comparative approaches to various media where objects are placed in association (texts, materiality, images) are strongly encouraged, in order to better assess multiple perspectives and perceptions to which the objects could be subjected, as well as the ways in which objects, once put together in particular and deliberate ways, acquire the capacity of acting as agents.

Accepted languages: English, French, Italian, Spanish.

Abstracts: no more than 300 words to be submitted at the e-mail address objetsdialogue@gmail.com. The abstract should also contain the title of the presentation, the name of the author(s) and the home institution(s).

Duration of each presentation: 20 minutes followed by 10 minutes for discussions.

Announcement of accepted proposals: September 30th 2020.

Digital poster section: a poster gallery will also be available for researchers preferring to send their presentation in this form. The gallery will be open to the public for the whole duration of the conference. On demand, the posters may be accompanied by a recorded audio presentation, no more than 10 minutes in length. Technical details will be available shortly, on the dedicated page at http://www.daaia.ro/.

More information can be found here.

New Publication: Moving with the Magdalen: Late Medieval Art and Devotion in the Alps

Moving with the Magdalen is the first art-historical book dedicated to the cult of Mary Magdalen in the late medieval Alps. Its seven case study chapters focus on the artworks commissioned for key churches that belonged to both parish and pilgrimage networks in order to explore the role of artistic workshops, commissioning patrons and diverse devotees in the development and transfer of the saint’s iconography across the mountain range. Together they underscore how the Magdalen’s cult and contingent imagery interacted with the environmental conditions and landscape of the Alps along late medieval routes.

Author Joanne W. Anderson is a Lecturer in Art History at The Warburg Institute.

Visit Bloomsbury’s website for more information on this publication.

CFP: ‘Seeing Climate through Medieval Art & Architecture’, IMC Leeds (5–8 July 2021), deadline 25 September 2020

Call for Papers for ‘ICMA Student Committee’ Session Proposal

In keeping with this year’s theme at the Medieval Congress, this session aims to explore medieval objects and buildings created with an awareness of climate. Climate is intimately intertwined with nature and environments, with as much of a profound impact on medieval lives as on ours today. It can be a cooperative partner, nourishing and stimulating growth, or a hostile threat to life—with scorching heat or forbidding storms preventing sustainable human settlement. Medieval climate might be construed as the literal, experiential, or perceived weather, geography, topography, or environment. We are especially interested in medieval awareness of change in climate that impacts well-being, health, and security—similar to effects felt today. How did the Medieval Warm Optimum or Little Ice Age affect the objects of trade or the construction of buildings and towns? 

While there is much to be found in written sources on the effects and changes in climate, we hope to organize a session around the traces of climate in the material record of medieval art and architecture. Climate may be grasped through regional differences in architecture—whether through mundane changes in irrigation or the complex physics of buttresses. It can be seen in depictions of weather or landscape, as images reveal attitudes towards both quotidian and extraordinary natural phenomena. Climate can also emerge in the uses of certain materials—like the quality and availability of ivories or the uses of certain types of wood. 

Suggested topics may include, but are not limited to: 

  • Depictions of weather, nature, landscape, or natural disasters 
  • The portability and utility of media as related to climate 
  • Variances in architectural form as responses to climate 
  • The impact of these artistic choices on people’s living experiences in the Middle Ages

Please submit a 250-word proposal for a 15–20-minute paper. Proposals should have an abstract format and be accompanied by a one-page CV, including e-mail and current affiliation. Please notice that this session is primarily intended for graduate students and first-time presenters. Please submit all relevant documents, as PDF or Word.doc, by 25 September, 2020, to both: 

New Publication: The Oxford Handbook of Islamic Archaeology, edited by Bethany Walker, Timothy Insoll, & Corisande Fenwick

Born from the fields of Islamic art and architectural history, the archaeological study of the Islamic societies is a relatively young discipline. With its roots in the colonial periods of the late 19th and early 20th centuries, its rapid development since the 1980s warrants a reevaluation of where the field stands today. This Handbook represents for the first time a survey of Islamic archaeology on a global scale, describing its disciplinary development and offering candid critiques of the state of the field today in the Central Islamic Lands, the Islamic West, Sub-Saharan Africa, and Asia. The international contributors to the volume address such themes as the timing and process of Islamization, the problems of periodization and regionalism in material culture, cities and countryside, cultural hybridity, cultural and religious diversity, natural resource management, international trade in the later historical periods, and migration. Critical assessments of the ways in which archaeologists today engage with Islamic cultural heritage and local communities closes the volume, highlighting the ethical issues related to studying living cultures and religions. Richly illustrated, with extensive citations, it is the reference work on the debates that drive the field today.

You can pre-order the book here.

Table of Contents:

Section One – Editors’ Introduction (Walker, Insoll, and Fenwick)

Section Two – Central Islamic Lands
Section Introduction (Bethany J. Walker)
Chapter 1. Northern Syria (Marie-Odile Rousset)
Chapter 2. Southern Syria (Bethany J. Walker)
Chapter 3. Mesopotamia (Alastair Northedge)
Chapter 4. Egypt (Alison Gascoigne)
Chapter 5. Persia (Rocco Rante)
Chapter 6. Medieval Anatolia (Scott Redford)
Chapter 7. Ottoman Anatolia (Filiz Yeni?ehirlio?lu)
Chapter 8. Arabia and the Gulf (Andrew Petersen)
Chapter 9. Ottoman Europe (Ibolya Gerelyes, Vesna Bikic, Svitlana Bilyayeva, Niculina Dinu, and Athanasios Vionis)

Section Three – The Islamic West
Section Introduction (Corisande Fenwick)
Chapter 1. North Africa (Corisande Fenwick)
Chapter 2.Morocco and the Western Maghreb (Abdallah Fili)
Chapter 3. Saharan Africa (Sam Nixon)
Chapter 4. al-Andalus (Sonia Gutiérrez Lloret and Patrice Cressier)
Chapter 5. Sicily and the central Mediterranean (Alessandra Molinari)
Chapter 6. Northern Europe and Scandinavia (Marek Jankowiak)

Section Four – Sub-Saharan Africa
Section Introduction (Timothy Insoll)
Chapter 1. The Eastern African coast (Jeffrey Fleisher and Stephanie Wynne-Jones)
Chapter 2. The Nilotic Sudan (Intisar Soghayroun El Zein)
Chapter 3. Ethiopia and the Horn of Africa (Timothy Insoll)
Chapter 4. West Africa (Timothy Insoll)
Chapter 5. The Central Sudan and Sahel (Carlos Magnavita and Abubakar Sani Sule)

Section Five – Asia
Section Introduction (Timothy Insoll)
Chapter 1. Central Asia (Pierre Siméon)
Chapter 2. South Asia (Mehrdad Shokoohy and Natalie H. Shokoohy)
Chapter 4. China (Jackie Armijo)
Chapter 5. Southeast Asia (Alexander Wain)

Section Six – Islamic Archaeology Today: Heritage Management and Community Development
Section Introduction: Moving Beyond the “Academy”: Islamic Archaeology and Heritage Management (Bert de Vries)
Chapter 1. Community Engagement in Site Presentation (Øystein S. LaBianca, Maria Elena Ronza, and Noël Harris)
Chapter 2. Heritage in Context (Nasser Rabbat)
Chapter 3. “Islamic” and “Western” Concepts of Heritage Compared (Trinidad Rico)
Chapter 4. War and Recovery (Stephennie Mulder)
Chapter 5. Islamic archaeologies and narratives about the Islamic heritage in three peninsulas (Jose Carvajal, Jelena Zivkovic, Al Kindi Al Jawabra, and Reem Lababidi)

Index

Editors:

Bethany Walker is Research Professor and Director of the Islamic Archaeology Research Unit at the University of Bonn, Germany. A historically trained archaeologist and specialist of peasant societies, her archaeological fieldwork in the eastern Mediterranean spans nearly thirty years. Walker is the Senior Editor of the Journal of Islamic Archaeology and serves on the Board of the American Center of Oriental Research in Amman.

Corisande Fenwick is Lecturer in Mediterranean Archaeology at UCL. Awarded her PhD in 2013 from Stanford University, she held postdoctoral fellowships at Brown University and the University of Leicester before moving to London in 2015. She has published extensively on Islamic North Africa, and currently directs field projects in Morocco and Tunisia. 

Timothy Insoll was educated at the Universities of Sheffield (BA, 1992), and Cambridge (PhD, 1996). He was awarded a Research Fellowship at St John’s College, Cambridge (1995) and was appointed lecturer at the University of Manchester in 1998 and was awarded a personal chair in 2005. In 2016 he was appointed to an Al-Qasimi Professorship at the University of Exeter. He is the author or editor of several books and special journal issues, and numerous articles and reviews. He has completed archaeological fieldwork in Mali, Ghana, western India, Bahrain, Eritrea, Ethiopia, and Uganda.

CPF: ‘Representations of Temperate/Intemperate Emotions in Visual Art and Literature’, IMC Leeds (5–8 July 2021), deadline 15 September 2020

Organizer: Dafna Nissim, Ben-Gurion University of the Negev

In medieval philosophy, excessive joy, fear, or anger were signs of an imbalance in the human organism that had implications on one’s moral behavior, decision-making, and, ultimately, salvation. Medieval theological treatises, mirror for princes genre texts, fictional literature, and chivalric manuals wrote of temperance as a virtue that has to be practiced and achieved, a quality that demonstrated the balanced path between the extremes of excess and deficiency. Medieval texts and visual culture reflect many allusions to the importance of temperate emotions in realizing the virtue of moderation.

Proposals exploring medieval texts and/or images looking for cues that indicate excessive or temperate feelings, the range of their expression, and the rhetorical devices employed will be welcome. The session will look at the audiences that observed, heard, and acquired these cultural products and the contexts of their creation to determine the ultimate objectives of these representations in the social, ethical, and spiritual arenas.

Please send abstracts of 250 words and a short bio to dafnani@post.bgu.ac.il by 15 September 2020.

New Publication: A Globalised Visual Culture?: Towards a Geography of Late Antique Art, edited by Fabio Guidetti & Katharina Meinecke

Late Antique artefacts, and the images they carry, attest to a highly connected visual culture from ca. 300 to 800 C.E. On the one hand, the same decorative motifs and iconographies are found across various genres of visual and material culture, irrespective of social and economic differences among their users – for instance in mosaics, architectural decoration, and luxury arts (silver plate, textiles, ivories), as well as in everyday objects such as tableware, lamps, and pilgrim vessels. On the other hand, they are also spread in geographically distant regions, mingled with local elements, far beyond the traditional borders of the classical world. At the same time, foreign motifs, especially of Germanic and Sasanian origin, are attested in Roman territories. This volume aims at investigating the reasons behind this seemingly globalised visual culture spread across the Late Antique world, both within the borders of the (former) Roman and (later) Byzantine Empire and beyond, bringing together diverse approaches characteristic of different national and disciplinary traditions. The presentation of a wide range of relevant case studies chosen from different geographical and cultural contexts exemplifies the vast scale of the phenomenon and demonstrates the benefit of addressing such a complex historical question with a combination of different theoretical approaches.

Table of Contents

Introduction
Fabio Guidetti and Katharina Meinecke

I. Dynamics of provincial visual cultures in the late Roman empire

1. Becoming glocal! Glocalisation, the victorious charioteer from the villa of El Pomar (Hispania Baetica) and the emergence of a regional visual koiné in 4th-century Augusta Emerita (Hispania Lusitana)
Rubén Montoya González

2. Clothing differentiation in a shared visual culture: Dress imagery in mosaic iconography
Amy Place

3. Act locally, think globally: Late antique funerary painting from the territory of present-day Serbia
Jelena Anđelković Grašar, Dragana Rogić and Emilija Nikolić

4. The emperors in the province: A study of the Tetrarchic images from the imperial cult chamber in Luxor
Nicola Barbagli

II. Iconography- or genre-related case studies

5. Images of the rider on horseback in the eastern Mediterranean in the 1st millennium AD
Renate Rosenthal-Heginbottom

6. The ‘child with grapes’ from Britain to Bahrain: Shared iconography, meaning and mobility on funerary monuments, AD 100–400
Lindsay R. Morehouse

7. Baptism and Roman gold-glasses: Salvation and social dynamics
Monica Hellström

8. ‘First-generation diptychs’ and the reception of Theodosian court art
Fabio Guidetti

III. Connections with Roman visual culture in extra-Roman and post-Roman contexts

9. Buckles and bones: Central Asiatic influences and the making of post-Roman Gaul
Carlo Ferrari

10. South Arabia in Late Antiquity: A melting pot of artistic ideas
Sarah Japp

11. The mosaic pavement beneath the floor of al-Aqṣā mosque: A case study of late antique artistic koiné
Michelina Di Cesare

IV. Modes of transfer: iconographies, motifs, objects

12. Circulating images: Late Antiquity’s cross-cultural visual koiné
Katharina Meinecke

13. Bracteates with Byzantine coin patterns along the Silk Road
Guo Yunyan

14. Small worlds of long Late Antiquity: Global entanglements, trade diasporas and network theory
Johannes Preiser-Kapeller

ISBN: 9781789254464 | Published by: Oxbow Books | Year of Publication: 2020 | Language: English 416p, H240 x W170 (mm) Colour illustrations

Order the book here.