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The British Archaeological Association Conference held at Peterborough in 2015 provided a welcome opportunity for a new analysis of the cathedral's architecture, sculpture and artistic production, and a reassessment of the relationship between the former abbey, the city and its institutions, and the Soke over which it held sway. This ambitious volume casts new light on the Roman occupation of the Nene valley, and the rich Anglo-Saxon sculptural and manuscript context that preceded the construction of the present cathedral, as well as exploring the vital Romanesque tradition of the Soke and the essential contribution of the Barnack quarries. But inevitably the most exciting new disclosures concern the church: its high-quality building campaigns during the 12th to 16th centuries, its abbots' tombs and the reconstruction of the lost 14th-century High Altar screen from descriptions and loose fragments. Peterborough has attracted the attention of antiquarian scholars since its sacking by Cromwell's men during the Civil War, and as its secrets are gradually revealed it continues to stimulate the historical imagination.
Green men are figures or heads that were carved in churches, abbeys and cathedrals from the twelfth to the sixteenth centuries. Inspired by the illustrations in book margins where heads were used to terminate trails of foliage, they were usually carved in the form of human masks, cats' or demons' heads. The earliest architectural green men are found in the churches of the wealthy and influential, such as Henry I's private chapel in Derbyshire but they were still produced in lesser numbers into the nineteenth century. Richard Hayman discusses the origins and definitions of these fascinating figures and traces their many declines and revivals throughout history - a valuable guide for any church history enthusiast.
Muthanna, also known as mirror writing, is a compelling style of Islamic calligraphy composed of a source text and its mirror image placed symmetrically on a horizontal or vertical axis. This style elaborates on various scripts such as Kufic, naskh, and muhaqqaq through compositional arrangements, including doubling, superimposing, and stacking. Muthanna is found in diverse media, ranging from architecture, textiles, and tiles to paper, metalwork, and woodwork. Yet despite its centuries-old history and popularity in countries from Iran to Spain, scholarship on the form has remained limited and flawed. Muthanna / Mirror Writing in Islamic Calligraphy provides a comprehensive study of the text and its forms, beginning with an explanation of the visual principles and techniques used in its creation. Author Esra Akin-Kivanc explores muthanna's relationship to similar forms of writing in Judaic and Christian contexts, as well as the specifically Islamic contexts within which symmetrically mirrored compositions reached full fruition, were assigned new meanings, and transformed into more complex visual forms. Throughout, Akin-Kivanc imaginatively plays on the implicit relationship between subject and object in muthanna by examining the point of view of the artist, the viewer, and the work of art. In doing so, this study elaborates on the vital links between outward form and inner meaning in Islamic calligraphy.
What happens when a monotheistic, foreign religion needs a space in which to worship in China, a civilisation with a building tradition that has been largely unchanged for several millennia? The story of this extraordinary convergence begins in the 7th century and continues under the Chinese rule of Song and Ming, and the non-Chinese rule of the Mongols and Manchus, each with a different political and religious agenda. The author shows that mosques, and ultimately Islam, have survived in China because the Chinese architectural system, though often unchanging, is adaptable: it can accommodate the religious requirements of Buddhism, Daoism, Confucianism, and Islam.
This beautifully illustrated history depicts the origin and development of the most visible element of Islamic architecture: the minaret. The argument is iconoclastic - that the minaret, long understood to have been invented in the early years of Islam as the place from which the muezzin gives the call to prayer, was actually invented some two centuries later to be a universal symbol of the presence of Islam. Originally published in 1989, this new edition has been thoroughly revised, expanded and generously illustrated in colour, substantially broadening both the chronological and geographical scope. Coverage spans from early Islam to the modern world, and from Iran, Egypt, Turkey and India to West and East Africa, the Yemen and Southeast Asia, in a sweeping tour of the minaret's position as the symbol of Islam.
The ancient cathedral of Old Minster and the abbey church of New Minster once stood at the heart of Anglo-Saxon Winchester. Buildings of the first importance, honoured by Anglo-Saxon and Norman kings, these great churches were later demolished and their locations lost. Through an extensive programme of archaeological excavation begun in 1961, and as a result of years of research, the story of these lost minsters can now be revealed. Written by Martin Biddle, Director of the Winchester Excavations Committee and Research Unit, and marvellously illustrated by Simon Hayfield, The Search for Winchester's Anglo-Saxon Minsters traces the history of these excavations from 1961 to 1970 and shows how they led to the discovery of the Old and New Minsters, bringing back to life the history, archaeology and architecture of Winchester's greatest Anglo-Saxon buildings.
'Exquisite ... A wonderment of an essay about a wonderment of a building' Paul Preston
Its scaffolding-cloaked spires reach up to the heavens, dominating the Barcelona skyline and drawing in millions of visitors every year. What seduces our attention is perhaps a combination: not only its almost megalomaniac ambition and architectural extravagance but the sheer longevity of its construction.
Its creator, Antoni Gaudí, 'God's Architect', saw the first stone laid on 19 March 1882 and yet it is unlikely to be completed until 2026 at the very earliest. It has survived two World Wars, the ravages of the Spanish Civil War and the 'Hunger Years' of Franco's rule. It has defied the critics, the penny-pinching accountants, the conservative town-planners and the slaves to sterile modernism to witness the most momentous changes in society and history.
The Sagrada Familia explores the evolution of this remarkable building, working through the decades right up to the present day before looking beyond to the final stretch of its construction. It is at once a guidebook and a chronological history, and a moving and compelling study of man's aspiration towards the divine.
Rich in detail, vast in scope, this is a revelatory and authoritative study of a building and its place in history and the genius that created it.
On November 22, 2001, an arsonist set candles under stacked plastic chairs beside the crossing of Peterborough Cathedral. The resulting fire endangered but did not destroy the cethedral's fabric; it did destroy nearly five years' work of restoration and left a thick sooty residue over the cathedral's interior. A wonderful display of photographs reveals the determination and hard work that have brought this magnificent building back to a worthy state. Peterborough is one of a group of superb East Anglian Romanesque cathedrals, including Ely and Norwich, but its particular glory is its thirteenth-century painted wooden ceiling, unique in the world. This, too, was covered in a layer of black soot that had to be painstakingly removed. An essay considers the ceiling and its imagery.
After an immense process of careful restoration and conservation, the outstanding artistry of the Great East Window is revealed afresh through state-of-the art photography that captures the complete sequence of major panels, in corrected placements, for the very first time. At the size of a tennis court, it is the largest single expanse of medieval stained glass in Britain and one of the largest medieval windows ever made. This visual feast is brought to life by expert author Sarah Brown, who explores the history, artistry, meaning and restoration of the window, revealing new insights on a fragile masterpiece that has been described as England's Sistine Chapel. Ground breaking new research has shed exciting new light on the window's complex narratives, relating its story to the Minster's history and liturgy. The Great East Window of York Minster explores the window's biblical presentation of the beginning and end of time, the window's relationships with other media and the technical processes behind its creation. This stunning, illustrated hardback presents an engaging contextual analysis of the window's unequivocal position as an English masterpiece. 'The Great East Window of York Minster tells the story of Time: from the Creation, Genesis, at the top, to the end of time, when a new heaven and a new earth is brought into being by Jesus Christ according to the Revelation of St John, at the bottom. It is a truly timeless masterpiece, with a message as relevant today as it was 600 years ago when it was painted.' - John Sentamu, Archbishop of York
This is the first book on the history of the virtually unknown phenomenon of the importation of Continental church furniture into England since the early 19th century, fuelled by the Romantic mediaevalising enthusiasm of Pugin and the Catholic Revival, as well as the eccentric whims of the Anglican Squiresons. It is well illustrated throughout, with over 100 pieces, from pulpits to choir stalls, discussed in detail. There is also an invaluable gazeteer of the main English churches containing fragments of this material.
In spite of all the changes in our values and beliefs, the art of the Middle Ages still speaks to us across the centuries. Not only do the great cathedrals remain, many with their spectacular decorations and stained glass, but also a rich treasure trove of paintings, manuscript illuminations, tapestries, sculpture and jewelry. This study encompasses the whole period from Early Christian to late Gothic, the whole of Europe from Ireland to Byzantium, and the whole range of art and architecture. The connections between art and society are particularly stressed, as are the ways in which artistic techniques - such as those used in metalwork and textiles - determined what was produced. Comprehensive and accessible, as well as lavishly illustrated, this is the ideal introduction to a subject that is both visually exciting and profoundly significant to Western culture.
A new edition of Batsford's classic 1930s guide to England's cathedrals, with foreword by Simon Jenkins. This classic guide from 1934 gives a brief account and pictorial review of every Church of England cathedral in England that existed at the time. Simply and concisely written to be read by anyone with an interest in the subject, the book features cathedrals from the mighty York Minster, Durham and Canterbury through St Albans to Ripon and Southwark. The full list of cathedrals covered are: Bristol, Canterbury, Carlisle, Chester, Chichester, Durham, Ely, Exeter, Gloucester, Hereford, Lichfield, Lincoln, London, Norwich, Oxford, Peterborough, Ripon, Rochester, St Albans, Salisbury, Southwark, Southwell, Wells, Winchester, Worcester, York. Also the Parish church cathedrals of Birmingham, Blackburn, Bradford, Chelmsford, Coventry (pre-war building), Derby, Leicester, Manchester, Newcastle, Portsmouth, St Edmundsbury, Sheffield and Wakefield. The book features an iconic book jacket by Brian Cook of Gloucester Cathedral as well as several of Brian's line drawings. A beautiful book to have on any shelf, this is also a practical guide that still works as a reference guide today.
Between 1650 and 1750, four Catholic churches were the best solar observatories in the world. Built to fix an unquestionable date for Easter, they also housed instruments that threw light on the disputed geometry of the solar system, and so, within sight of the altar, subverted Church doctrine about the order of the universe. A tale of politically canny astronomers and cardinals with a taste for mathematics, The Sun in the Church tells how these observatories came to be, how they worked, and what they accomplished. It describes Galileo's political overreaching, his subsequent trial for heresy, and his slow and steady rehabilitation in the eyes of the Catholic Church. And it offers an enlightening perspective on astronomy, Church history, and religious architecture, as well as an analysis of measurements testing the limits of attainable accuracy, undertaken with rudimentary means and extraordinary zeal. Above all, the book illuminates the niches protected and financed by the Catholic Church in which science and mathematics thrived. Superbly written, The Sun in the Church provides a magnificent corrective to long-standing oversimplified accounts of the hostility between science and religion.
Throughout history, great faiths have been subjected to persecution and attack from beyond the wall - literally walls, in Peter Harrison's remarkable book of the great monastery-fortresses, and church-fortresses, of the world. The fortified religious buildings of Christendom, Islam and Tibetan Buddhism are some of the most dramatic buildings of the middle ages. Though they shared a common purpose in defending the living faith from the armies of the unbeliever, they are astonishingly different from each other. Peter Harrison has spent a lifetime in scholarly pursuit of fortified religious buildings dating from a thousand years ago and more, in the Old and New Worlds, the Orient, and the Occident, ranging through New Mexico, North Africa and Tibet, though the majority are to be found in Europe. The wild, often hostile, terrain in which these fortresses were built speaks of a militant faith, and Peter Harrison's purpose is to show how and why religious establishments incorporated military architecture. He considers this unstudied subject from a uniquely wide point of view, historical, military, and architectural. Every form of religious building that received fortifications is illustrated, from the humble parish churches of the Anglo-Scottish Borders to the Potala Palace of the Dalai Lama and the Vatican. Particular features of this book are the author's photographs, taken in some of the wildest and most inaccessible parts of the world, and his own very detailed plans and illustrations of many of the buildings described. SHORTLISTED FOR THE LONGMAN-HISTORY TODAY BOOK OF THE YEAR 2005 AWARD. Dr PETER HARRISON is Research Associate, Centre for Medieval Studies, University of York.
The assault on Samarra, which was built in the period of the Abbasid caliphate in the ninth century CE, therefore came to represent for many a symbol of the destructive civil conflict which engulfed Iraq following the 2003 US-led invasion. The Shi'a of Samarra explores and analyses the cultural, architectural and political heritage of the Shi'a in both Samarra and the Middle East, thus highlighting how this city functions as a microcosm for the contentious issues and debates which remain at the forefront of efforts to rebuild the modern Iraqi state. Its examination of the socio-political context of the Shi'a/Sunni divide provides important insights for students and researchers working on the history and politics of Iraq and the Middle East, as well as those interested in the art and architecture of the Islamic world.
This is the first volume concerned solely with the archaeology of a major late 17th century building in London, and the major changes it has undergone. St Paul's Cathedral in the City of London was built in 1675-1711 to the designs of Sir Christopher Wren and has been described as an iconic building many times. In this major new account, John Schofield examines the cathedral from an archaeological perspective, reviewing its history from the early 18th to the early 21st century, as illustrated by recent archaeological recording, documentary research and engineering asssessment. A detailed account of the construction of the cathedral is provided based on a comparison of the fabric with voluminous building accounts which have survived and evidence from recent archaeological investigation. The construction of the Wren building and its embellishments are followed by the main works of later surveyors such as Robert Mylne and Francis Penrose. The 20th century brought further changes and conservation projects, including restoration after the building was hit by two bombs in World War II, and all its windows blown out. The 1990s and first years of the present century have witnessed considerable refurbishment and cleaning involving archaeological and engineering works. Archaeological specialist reports and an engineering review of the stability and character of the building are provided.
Contextualises current Salafi iconoclasm and graves destruction, tracing its ideological sourcesIn various parts of the Islamic world over the past decades virulent attacks have targeted Islamic funeral and sacral architecture. Rather than being random acts of vandalism, these are associated with the idea of performing one's religious duty as attested to in the Salafi/Wahhabi tradition and texts. Graves, shrines and tombs are regarded by some Muslims as having the potential to tempt a believer to polytheism. Hence the duty to level the graves to the ground (taswiyat al-qubur).In illuminating the ideology behind these acts, this book explains the current destruction of graves in the Islamic world and traces the ideological sources of iconoclasm in their historical perspective, from medieval theological and legal debates to contemporary Islamist movements including ISIS.Key FeaturesProvides a detailed and in-depth study of Salafi iconoclasmLooks at the destruction of graves in various parts of the Islamic world including the Middle East, North Africa and South AsiaTraces the ideological roots of Salafi iconoclasm and its shifts and mutations in an historical perspective Contributes to the growing study of Salafi IslamCase Studies include Ibn Taymiyya, Muhammad ibn ?Abd al-Wahhab, the formation of Saudi ulama, Nasir al-Din al-Albani, and ISIS and the destruction of monuments
After World War II, America's religious denominations spent billions on church architecture as they spread into the suburbs. In this richly illustrated history of midcentury modern churches in the Midwest, Gretchen Buggeln shows how architects and suburban congregations joined forces to work out a vision of how modernist churches might help reinvigorate Protestant worship and community. The result is a fascinating new perspective on postwar architecture, religion, and society. Drawing on the architectural record, church archives, and oral histories, The Suburban Church focuses on collaborations between architects Edward D. Dart, Edward A. Soevik, Charles E. Stade, and seventy-five congregations. By telling the stories behind their modernist churches, the book describes how the buildings both reflected and shaped developments in postwar religion-its ecumenism, optimism, and liturgical innovation, as well as its fears about staying relevant during a time of vast cultural, social, and demographic change. While many scholars have characterized these congregations as "country club" churches, The Suburban Church argues that most were earnest, well-intentioned religious communities caught between the desire to serve God and the demands of a suburban milieu in which serving middle-class families required most of their material and spiritual resources.
From St. Peter's Basilica in Rome to Notre-Dame in Paris, Christian churches represent some of our most significant architectural achievements, designed to evoke wonder and awe. Offering unprecedented access to a collection of revered religious landmarks, photographer Guillaume de Laubier takes readers on a stunning architectural tour. Sacred Spaces showcases breathtaking photographs of extraordinary churches and cathedrals, revealing original, illuminating views of icons, such as la Sagrada Familia in Barcelona, while also shedding light on lesser-known sites, such as Saint Basil's Cathedral in Moscow. Whether Catholic, Protestant, or Orthodox; made of wood, stone, concrete, or glass; Roman, Gothic, Baroque, or modern, the places of worship featured in this richly produced volume present an extraordinary overview of our architectural and cultural history.
In various parts of the Islamic world over the past decades virulent attacks have targeted Islamic funeral and sacral architecture. Rather than being random acts of vandalism, these are associated with the idea of performing one's religious duty as attested to in the Salafi/Wahhabi tradition and texts. Graves, shrines and tombs are regarded by some Muslims as having the potential to tempt a believer to polytheism. Hence the duty to level the graves to the ground (taswiyat al-qubur). In illuminating the ideology behind these acts, this book explains the current destruction of graves in the Islamic world and traces the ideological sources of iconoclasm in their historical perspective, from medieval theological and legal debates to contemporary Islamist movements including ISIS.
A groundbreaking survey of the Buddhist architecture of Southeast
Asia, abundantly illustrated with new color photography and 3-D
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