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E-grāmata: East-West Artistic Transfer through Rome, Armenia and the Silk Road: Sharing St. Peter's

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This book examines the arts and artistic exchanges at the Christian Oriental fringes of Europe, especially Armenia.

It starts with the architecture, history and inhabitants of the lesser known pilgrim compounds at the Vatican in the Middle Ages and Renaissance, of Hungary, Germany, but namely those of the most ancient of Churches, the Churches of the Christian Orient Ethiopia and Armenia. Without taking an Eurocentric view, this book explores the role of missionaries, merchants, artists (for example Momik, Giotto, Minas, Domenico Veneziano, Duerer), and artefacts (such as fabrics, inscriptions and symbols) travelling into both directions along the western stretch of the Silk Road between Ayas (Cilicia), ancient Armenia and North-western Iran. This area was truly global before globalization, was a site of intense cultural exchanges and East-West cultural transmissions. This book opens a new research window into the culturally mixed landscapes in the Christian Orient, the Middle East and North-eastern Africa by taking into consideration their many indigenous and foreign artistic components and embeds Armenian arts into todays wider art historical discourse.

This book will be of interest to scholars in art history, architectural history, missions, trade, Middle Eastern arts and the arts of the Southern Caucasus.
Acknowledgements ix
List of figures
xi
Photograph credits xiv
Introduction: geography of the dogma and the Christian Orient 1(13)
1 Compounds at Old St. Peter's
14(28)
History, setting and function
14(6)
Architecture, decoration, administration and inhabitants
20(1)
The Armenian compound
20(5)
The Ethiopian compound with S. Stefano Maggiore
25(3)
The Hungarian compound with S. Stefano Minore
28(3)
The German "compound" and the Campo Santo Teutonico
31(3)
Administration and inhabitants of the compounds
34(8)
2 Armenia between "East" and "West"
42(18)
Character of Armenian arts
44(3)
Current state of research and problem definition: brief overview
47(13)
3 Historical background
60(32)
Armenians as Europe's intermediaries
61(1)
Geography: centre and borders
61(2)
Christendom's longest frontier
63(1)
Silk Road trading colonies
64(1)
Cilician Silk Road trade and a church union with Rome
64(1)
Armeno-French society and culture of Cilicia
65(2)
The Catholics in Armenia
67(1)
Rome's missionaries in the new heart of the Mongol empire
68(1)
Luxury trade and the Kingdom of Cilicia
69(1)
Dominicans' most successful missions of the Latin Middle Ages
69(1)
"Against the Tachiks"
70(1)
Rome criticises the Armenian dogma
71(1)
Ayas, the safest harbour in southern Anatolia and the Levant
71(1)
Armenians as specialists in long-distance East-West trade
72(1)
Armenians and luxury trade
72(1)
Armenian merchants' family palaces
73(1)
Organisation of an Armenian merchants' family firm
74(1)
Trade with China and central Asia from the second century BCE
75(2)
Armenian position in international silk trade
77(2)
Trading privileges and the Latins in Cilicia
79(1)
Silks and the Armenian production of luxury textiles and dye, vordan karmir
79(2)
Mutual cultural knowledge
81(3)
Imported saints
84(1)
Furnishing the Armenian churches
85(1)
Armenians well-acquainted with Italian book illumination style
86(6)
4 Colonies
92(22)
A mercantile "colonisation"
92(10)
"Obedient ornament to the Roman Church"
102(12)
5 Artistic crossroads
114(38)
Crossroads of languages and alphabets
114(12)
Conclusion
126(2)
Fabrics, silks and patterns
128(1)
Armenian fabrics
129(3)
Armenian nobility and their garments
132(1)
Garments, fabrics and their meaning in Cilicia and Italy
133(10)
Christian Oriental or Muslim fabrics?
143(2)
Display of magnificence
145(1)
Furnished with international taste and style
145(7)
6 A chronology
152(53)
Thirteenth century
153(1)
New image creations in Armenian manuscript illuminations in Rome
153(3)
Fourteenth century
156(1)
Contemporaries: Momik and Giotto
156(10)
Giotto-adaptation
166(1)
Latin-Armenian illumination made in Italy
167(5)
Armenian Latin illuminators borrow Latin elements for the decoration of initials
172(2)
Toros of Taron and Awag
174(2)
The (Latin) Armenian dominican scriptoria
176(1)
Western maps adjusting biblical geography of Armenia. Saints
177(3)
Fifteenth century
180(1)
Florence, Santa Maria Novella
180(2)
Rome, Old St. Peter's
182(3)
Vaspurakan
185(4)
Eschatological themes
189(1)
Sixteenth century
190(1)
Armenian Renaissance woodcuts
190(4)
Armenian-made gift for the Doge of Venice
194(3)
Armenian "Silk Road Painting": Jughayets'i, Michelangelo, Durer and Italy
197(8)
7 International styles
205(7)
Excursus: Ethiopia and Italy
205(3)
Renaissance, periodisation and "International" style
208(4)
Conclusion 212(2)
Bibliography 214(7)
Index 221
Christiane Esche-Ramshorn was Research Associate, Department of History of Art, University of Cambridge, UK, and is Life Member of Clare Hall.