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Medieval Reliquaries & Saint Relics 400-1204AD Treasuries Cross Pendants Color

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Seller: ancientgifts (4,323) 100%, Location: Lummi Island, Washington, Ships to: Worldwide, Item: 122179189137 Details: TRANSLATE Arabic Chinese French German Greek Indonesian Italian Hindi Japanese Korean Swedish Portuguese Russian Spanish Your browser does not support JavaScript. To view this page, enable JavaScript if it is disabled or upgrade your browser. Click here to see almost 800 archaeology/ancient history books and 500 authentic ancient artifacts on our eBay store! ”Strange Beauty: Issues in the Making and Meaning of Reliquaries”, 400-1204AD by Cynthia Hahn. NOTE: We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). If you don’t see what you want, please contact us and ask. We’re happy to send you a summary of the differing conditions and prices we may have for the same title. DESCRIPTION: Softcover. Publisher: Pennsylvania State University (2013). Pages: 213. Size: 10 x 9 x 1 inch; 2½ pounds. Reliquaries, one of the central art forms of the Middle Ages, have recently been the object of much interest among historians and artists. Until now, however, they have had no treatment in English that considers their history, origins, and place within religious practice, or, above all, their beauty and aesthetic value. In “Strange Beauty”, Cynthia Hahn treats issues that cut across the class of medieval reliquaries as a whole. She is particularly concerned with portable reliquaries that often contained tiny relic fragments, which purportedly allowed saints to actively exercise power in the world. Above all, Hahn argues, reliquaries are a form of representation. They rarely simply depict what they contain; rather, they prepare the viewer for the appropriate reception of their precious contents and establish the “story” of the relics. They are based on forms originating in the Bible, especially the cross and the Ark of the Covenant, but find ways to renew the vision of such forms. They engage the viewer in many ways that are perhaps best described as persuasive or “rhetorical,” and Hahn uses literary terminology—sign, metaphor, and simile—to discuss their operation. At the same time, they make use of unexpected shapes—the purse, the arm or foot, or disembodied heads—to create striking effects and emphatically suggest the presence of the saint. CONDITION: NEW. HUGE oversized softcover. Pennsylvania State University (2013) 312 pages. Still in manufacturer's wraps. Unblemished and pristine in every respect. Pages are clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #8644a. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. PUBLISHER REVIEWS: REVIEW: Professor Cynthia Hahn teaches medieval art at Hunter College and The Graduate Center. Her courses focus on issues of production and meaning for both medieval and contemporary makers and audiences. She previously taught at Florida State University where she was Gulnar K. Bosch professor of Art History. She has published on material from the early Christian period to the Gothic, from across Europe--Italy to England to the Byzantine East. Her work has appeared in Art History, Art Bulletin, Gesta, Speculum, and many other journals and collections. Her books include "Portrayed on the Heart: Narrative Effect in Pictorial Lives of the Saints from the Tenth through the Thirteenth Century", University of California Press, and "Strange Beauty", a study on reliquaries. She has served on the boards of the ICMA, CASVA, and CAA online reviews, where she was also an editor. REVIEW: study of reliquaries as a form of representation in medieval art. Explores how reliquaries stage the importance and meaning of relics using a wide range of artistic means from material and ornament to metaphor and symbolism. REVIEW: Cynthia Hahn is Professor of Art History at Hunter College and the CUNY Graduate Center. REVIEW: TABLE OF CONTENTS: Contents. List of Illustrations. Preface. Part I: First Things. 1. Introduction. 2. The Reliquary and Its Maker. 3. Relics, Meaning, and Response: Early Christian Reliquaries, Narrative and Not. Part II: Shaped Reliquaries. 4. Spolia and Sign, Metaphor and Simile. 5. The Reliquary Cross. 6. Like and Unlike Metaphors. 7. Body-Part Reliquaries: Heads. 8. Body Part Reliquaries: Other Body Parts. Part III: A Gathering of Saints: Processions and Treasuries. 9. Reliquaries in Action. 10. Treasuries. 11. Relic Display. 12. A Case Study: Wibald of Stavelot as Patron. 13. The Impact of 1204, the “Space” of the Ark, and Conclusion. Notes. Bibliography. Index. REVIEW: “What is a reliquary?” It is no coincidence that many people I encounter believe they have never heard the word, although they are confident of the meaning of “relic.” If the reliquary can be said to be a container, a box, it is akin to the gift box. As it performs its function of presentation, it is erased in the “presence” of the relic. Thus, precisely as the precious reliquary is materiality glorified, sparkling silver, gold, and gems, it simultaneously denies its own existence, standing only as a setting or context for the staging of the relic. Without the “script” supplied by labels and inscriptions, without the set design and lighting of brilliant substances, without the supporting cast of other relics and sacred things in the surrounding treasury, however, the relic remains mute — a silent and speechless thing, not even an “object” responding to a subject. Ultimately, the reliquary makes the relic. Reliquaries take on this role as a necessity. In an essay in The Social Lives of Things, a book Arjun Apppadurai introduces by proposing “the conceit that commodities, like persons, have social lives,” Patrick Geary identifies relics as commodities. Their lack of identity, their neutrality and flexibility, is the very quality that allows relics to be put into service as gifts, as well as shaped by story, culture, and context into the ultimate objects of desire and even theft. But, just as once sought-after commodities become valueless as fashionable turns to unfashionable, reliquary presentations are called upon to perform in an unstable environment of desire and are subject to constant change and remaking. Reliquary shapes are edited and revised; for example, from opaque reliquaries obscuring abject pieces of body in the early Middle Ages, to crystal ones that — in a wonderful reversal — celebrate the materiality of relics. In the later Middle Ages, the relic matter itself was seemingly brought under scrutiny, floating behind sparkling gems, often presented in the luxury of fine cloth and shining metal, but ultimately difficult to see. Following the publication of my book "Strange Beauty: Issues in the Making and Meaning of Reliquaries, 400 – circa 1204" and the exhibition Objects of Devotion and Desire, which I co-curated with my students at Hunter College, comparing medieval reliquaries and contemporary art, I have been commissioned by Reaktion Press to write a book on relics and reliquaries that moves outside medieval boundaries. This has been my primary project at CASVA. A first area of concern was to address the complications that occur, in terms of space and design, in reliquaries of the late medieval and Renaissance periods. My colloquium addressed the spatial ductus of such constructions in terms of the Old Testament injunction to measure the Temple (Ezekiel 40). I tried to show how the complex, often architectural construction of reliquaries of this period stimulated the religious imagination and an understanding of the larger meaning of relics. More of a challenge for a student of the Middle Ages was the investigation of the issues involved in post-Tridentine reliquary presentation. Rather than create ever more complex reliquaries of possibly obscure meaning, artists returned to tried and true reliquary types that were nonetheless displayed in spectacular reliquary presentations. Beginning with a selection of intriguing examples of such presentations — in Bavaria at Waldsassen and in Portugal at Alcobaça and Sao Roque in Lisbon, hardly familiar locations — I traveled to sites, produced photographic documentation, and investigated their history, imagery, and art. I would argue that, although the baroque is one of the eras most committed to reliquary creation and display, it is also one of the least studied. Finally, I conclude my stay at CASVA working on the last portion of the essay, that is, considering the way in which modern and contemporary artists and patrons mine the structures of reliquary creation, use, and presentation to give added meaning to their own artistic visions. As a patron Napoleon created both religious and historical reliquaries to magnify his position and the glory of his court. Contemporary artists such as Joseph Beuys (1921 – 1986), Paul Thek (1933 – 1988), and Anselm Kiefer (b. 1945) use the reliquary effect to amplify the indexical charge of their work and to frame and package it in order to focus on viewer interaction. PROFESSIONAL REVIEWS: REVIEW: Cynthia Hahn offers a refreshing new synthesis on the topic of medieval reliquaries. She shows that they are a form of ‘representation’ that mediates religious experience of relics as well as their political and institutional meanings. Engaging both primary sources and current theoretical writings, Hahn’s text will be of crucial interest to a broader readership concerned with the material embodiment of the sacred and strategies of representation. [Thomas Dale, University of Wisconsin–Madison]. REVIEW: Lavishly illustrated in color, this book will be of fundamental importance. [J. Oliver, Choice]. READER REVIEWS: REVIEW: This has got to be the most comprehensive study of relics and reliquaries ever! This is NOT a coffee table picture book, but an in-depth study of the art, psychology and manufacture of reliquaries and the meanings behind them. Excellent treatise, but is more for the intellectual and student than for casual entertainment. REVIEW: Wow! Spectacular full color photos, compelling and insightful analysis. This is ten! I always ship books Media Mail in a padded mailer. This book is shipped FOR FREE via USPS INSURED media mail (“book rate”). All domestic shipments and most international shipments will include free USPS Delivery Confirmation (you might be able to update the status of your shipment on-line at the USPS Web Site) and free insurance coverage. A small percentage of international shipments may require an additional fee for tracking and/or delivery confirmation. If you are concerned about a little wear and tear to the book in transit, I would suggest a boxed shipment - it is an extra $1.00. Whether via padded mailer or box, we will give discounts for multiple purchases. International orders are welcome, but shipping costs are substantially higher. Most international orders cost an additional $12.99 to $33.99 for an insured shipment in a heavily padded mailer, and typically includes some form of rudimentary tracking and/or delivery confirmation (though for some countries, this is only available at additional cost). There is also a discount program which can cut postage costs by 50% to 75% if you’re buying about half-a-dozen books or more (5 kilos+). Rates and available services vary a bit from country to country. You can email or message me for a shipping cost quote, but I assure you they are as reasonable as USPS rates allow, and if it turns out the rate is too high for your pocketbook, we will cancel the sale at your request. ADDITIONAL PURCHASES do receive a VERY LARGE discount, typically about $5 per book (for each additional book after the first) so as to reward you for the economies of combined shipping/insurance costs. Your purchase will ordinarily be shipped within 48 hours of payment. We package as well as anyone in the business, with lots of protective padding and containers. All of our shipments are sent via insured mail so as to comply with PayPal requirements. We do NOT recommend uninsured shipments, and expressly disclaim any responsibility for the loss of an uninsured shipment. Unfortunately the contents of parcels are easily “lost” or misdelivered by postal employees – even in the USA. That’s why all of our domestic shipments (and most international) shipments include a USPS delivery confirmation tag; or are trackable or traceable, and all shipments (international and domestic) are insured. We do offer U.S. Postal Service Priority Mail, Registered Mail, and Express Mail for both international and domestic shipments, as well United Parcel Service (UPS) and Federal Express (Fed-Ex). Please ask for a rate quotation. We will accept whatever payment method you are most comfortable with. If upon receipt of the item you are disappointed for any reason whatever, I offer a no questions asked return policy. Send it back, I will give you a complete refund of the purchase price (less our original shipping costs). Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. However many of the items also come from purchases I make in Eastern Europe, India, and from the Levant (Eastern Mediterranean/Near East) from various institutions and dealers. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well. Aside from my own personal collection, I have made extensive and frequent additions of my own via purchases on Ebay (of course), as well as many purchases from both dealers and institutions throughout the world - but especially in the Near East and in Eastern Europe. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. In fact much of what we generate on Yahoo, Amazon and Ebay goes to support The Hermitage Museum in St. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. I would be happy to provide you with a certificate/guarantee of authenticity for any item you purchase from me. There is a $2 fee for mailing under separate cover. Whenever I am overseas I have made arrangements for purchases to be shipped out via domestic mail. If I am in the field, you may have to wait for a week or two for a COA to arrive via international air mail. But you can be sure your purchase will arrive properly packaged and promptly - even if I am absent. And when I am in a remote field location with merely a notebook computer, at times I am not able to access my email for a day or two, so be patient, I will always respond to every email. Please see our "ADDITIONAL TERMS OF SALE."

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