Guest Lectures & Seminars
Collecting the Holy land in early medieval Europe, c. 600-900 CE
Julia Smith, University of Glasgow
Lecture will be held at the Hebrew University of Jerusalem, Givat Ram Campus
Institute for Advanced Studies, Room 128
Regretting Jerusalem. The Image of the Holy City in the West, from 1187 to the end of the 14th Century
Matthieu Rajohnson, University Paris Ouest
Legends of Jerusalem in the Lateran
Manfred Luchterhandt, Georg-August-Universität, Göttingen
The Holy Sepulchre in Aquapendente: Earliest Translation in Europe?
Mordechay Lewy, Ambassador ret. to the Holy See
Jerusalem Elsewhere: the Replica of the Holy Sepulcher and the stations of the Via Crucis in San Girolamo, Reggio Emilia, Italy
Christina Rattighieri, Spectrum Member
Richard Krautheimer in Germany (1925-1933): Towards the Uncertain Origins of a Distinguished Career
Ingo Herklotz, Art History Institute, University of Marburg
Invitation & Abstract
Aesthetic and Political Role of the Representation of Jerusalem in the Third-person Shotter Game, Assassin's Creed
Annabell J. Wharton, Duke University
Pilgrimage in Recent Times
Helmut Eberhart, Karl-Franzens-Universität Graz
The seminar addresses pre-Christian pilgrimages, as well as an introduction to the important stages in the history of Christian pilgrimage: peregrinationes maiores of the Middle Ages, namely Jerusalem, Rome and Santiago de Compostela; changes of the iconic landscape resulting from the shift between long-distance pilgrimages to short-distance pilgrimage and the consequent creation of new pilgrimage centres. The course will focus on examples from Austria, such as Mariazell, and comparisons such as Altötting and Czestochowa. Further Austrian topics include the decline of pilgrimage following Protestantism and pilgrimage during the anti-reformation till the twentieth century.
Making the Crown of Thorns: Mockery, Royalty, Piety
Cynthia Hahn, Hunter College (CUNY)
Origen notes that the crown of thorns “disappeared;” that it is mentioned only very briefly in the Gospels which tell of its mocking placement on Christ’s head but not when it was removed or what became of it. Despite this modest beginning, the crown of thorns has risen from a status as only one of the many instruments of the Passion in the Gospel story to a relic that is a primary focus of Passion devotion, and today has even become an icon of popular culture. Histories of relics are often written as if events were inevitable and even perhaps under the control of the relics themselves. If we take a close look, however, we discover that the rise to prominence of the relic of the crown of thorns involved very specific measures taken by powerful players in the medieval world of relics. From its display as one of the important Passion relics in the Pharos chapel, to glorification as the spiritual equivalent to the crown of the French and “most Christian king,” the relic of the crown was worked vigorously to express its virtus and in the process its power was increased many times over. Art and architecture was essential in accomplishing these goals as well as clear evidence of the process. I will explore the place of the crown in the relic collection of the Ste Chapelle, its dissemination and presentation in the form of single thorns in sumptuous reliquaries, as well as its inclusion in devotional practices, especially devotional art.
Recommended background reading:
Cynthia Hahn, "What Do Reliquaries Do for Relics?
Don Denny, "Notes on the Avignon Pietà"
Faculty of Humanities, Mexico Wing, room 1750, 10:30
The Reverse Side of Orthodox Icons
Emmanuel S. Moutafov, Byzantine and Post-Byzantine Art Department at the Institute of Art Studies, Bulgarian Academy of Sciences | Fellow of the W. F. Albright Institute of Archaeological Research in Jerusalem for 2012
This talk asks how the decoration of the reverse sides of Orthodox icons fits the context of the overall Byzantine perception of the world. Much research has been done in the past on this topic in the context of Byzantine art, but I see a difference between two-sided (bilateral) icons and icons whose reverse sides are merely decorated. Here the medieval tradition of the icon will be traced and a few words will be said about icons in the Post-Byzantine period, in which the same tradition of sporadically decorating the reverse sides of images becomes a purely spatial (and not substantive) solution, although here, too, Orthodox art still transports a vision of the afterlife. This art persistently ignores the Renaissance achievements in geometric perspective, depicting unnaturally elongated figures and ascetic faces that seem to be suspended on the golden background and avoiding any resemblance to a photographic depiction of reality. I will support my theses with wide range of pictorial materials, some of them as yet unpublished.
Faculty of Humanities Building, Room 2717, 12:30
Seminar and Guest Lecture
The Art of Inscription
Jeffrey Hamburger, Harvard University,Department of History of Art & Architecture
The Hand of God and the Hand of the Scribe: Craft and Collaboration at Arnstein
Public Lecture, Faculty of Humanities Building, Room 6837, 16:30
Lenten Imagery in the Liturgical Manuscripts from Paradies bei Soest
Seminar, Beit Maiersdorf, Room 502, 18:15
Christian Food and Drink Ritual in Early Medieval European Communities
Celia Chazelle, History Department, The College of New Jersey
Mount Scopus Campus, Faculty of Humanities Building, Room 2716, 16:30