Royal imagery in medieval Georgia /
Medieval Georgia, in the Caucasus, produced a wealth of monuments to its rulers, of which little is known outside the former Soviet Union. This book is the first of its kind to examine the development of royal imagery in Georgia between the ninth and thirteenth centuries. Positioned between the Chri...
Main Author: | |
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Format: | Book |
Language: | English |
Published: |
University Park :
Pennsylvania State University Press,
[1998], ©1998
University Park : c1998 University Park : ©1998 University Park, Pa. : ©1998 University Park : [1998] |
Subjects: |
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100 | 1 | |a Eastmond, Antony, |d 1966- |0 http://viaf.org/viaf/117317624 | |
100 | 1 | |a Eastmond, Antony, |d 1966- |1 http://viaf.org/viaf/117317624 | |
100 | 1 | |a Eastmond, Antony, |d 1966- |1 https://id.oclc.org/worldcat/entity/E39PCjy7VmtMQxYhkV76qGXxfy | |
100 | 1 | |a Eastmond, Antony, |d 1966- | |
245 | 1 | 0 | |a Royal imagery in medieval Georgia / |c Antony Eastmond |
260 | |a University Park : |b Pennsylvania State University Press, |c [1998], ©1998 | ||
260 | |a University Park : |b Pennsylvania State University Press, |c c1998 | ||
260 | |a University Park : |b Pennsylvania State University Press, |c ©1998 | ||
260 | |a University Park, Pa. : |b Pennsylvania State University Press, |c ©1998 | ||
264 | 1 | |a University Park : |b Pennsylvania State University Press, |c [1998] | |
264 | 4 | |c ©1998 | |
300 | |a xx, 268 p., [16] p. of plates : |b ill. (some col.), map ; |c 29 cm | ||
300 | |a xx, 268 p., [16] p. of plates : |b ill. (some col.), map, geneal. tables ; |c 29 cm | ||
300 | |a xx, 268 pages : |b illustrations (some color), map ; |c 29 cm | ||
300 | |a xx, 268 pages, 16 unnumbered pages of plates : |b illustrations (some color), map ; |c 29 cm | ||
336 | |a text |2 rdacontent | ||
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500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
504 | |a Includes bibliographical references (p. [245]-259) and index | ||
504 | |a Includes bibliographical references (pages [245]-259) and index | ||
505 | 0 | 0 | |g Pt. 1 |t Monuments -- |g I. |t Royal Imagery Before the Unification of Georgia (888-1008) -- |g II. |t Imagery of United Georgia (1008-1184) -- |g III. |t Imagery of Queen Tamar (1184-1213) -- |g Pt. 2. |t Themes -- |g IV. |t Functions of Royal Imagery -- |g V. |t Patronage and the Creation of Royal Imagery. |g App. I. |t Royal Imagery Before 1050 -- |g App. II. |t Dating and Identification of the Donor Portraits in the Sioni Church at At'eni -- |g App. III. |t Rule and Order for the Blessing of Kings -- |t Abbreviated Genealogy of the Bagrat'ioni Family. |
505 | 0 | 0 | |g Pt. 1 |t Monuments. |g I. |t Royal Imagery Before the Unification of Georgia (888-1008). |g II. |t The Imagery of United Georgia (1008-1184). |g III. |t The Imagery of Queen Tamar (1184-1213) -- |g Pt. 2. |t Themes. |g IV. |t The Functions of Royal Imagery. |g V. |t Patronage and the Creation of Royal Imagery. |g App. I. |t Royal Imagery Before 1050 -- |g App. II. |t The Dating and Identification of the Donor Portraits in the Sioni Church at At'eni -- |g App. III. |t The Rule and Order for the Blessing of Kings -- |t Abbreviated Genealogy of the Bagrat'ioni Family. |
505 | 0 | 0 | |g pt. 1 |t Monuments. |g I. |t Royal Imagery Before the Unification of Georgia (888-1008). |g II. |t The Imagery of United Georgia (1008-1184). |g III. |t The Imagery of Queen Tamar (1184-1213) -- |g pt. 2. |t Themes. |g IV. |t The Functions of Royal Imagery. |g V. |t Patronage and the Creation of Royal Imagery. |g App. I. |t Royal Imagery Before 1050 -- |g App. II. |t The Dating and Identification of the Donor Portraits in the Sioni Church at At'eni -- |g App. III. |t The Rule and Order for the Blessing of Kings -- |t Abbreviated Genealogy of the Bagrat'ioni Family. |
520 | |a Medieval Georgia, in the Caucasus, produced a wealth of monuments to its rulers, of which little is known outside the former Soviet Union. This book is the first of its kind to examine the development of royal imagery in Georgia between the ninth and thirteenth centuries. Positioned between the Christian and Islamic worlds, Georgia provides an excellent case study for the investigation of issues regarding the relationship between art and power and the transmission of ideas between East and West | ||
520 | |a Medieval Georgia, in the Caucasus, produced a wealth of monuments to its rulers, of which little is known outside the former Soviet Union. This book is the first of its kind to examine the development of royal imagery in Georgia between the ninth and thirteenth centuries. Positioned between the Christian and Islamic worlds, Georgia provides an excellent case study for the investigation of issues regarding the relationship between art and power and the transmission of ideas between East and West. Byzantine, Persian, Armenian, Turkic, and local traditions are shown to have influenced the image of power promoted by the Georgian rulers, and Antony Eastmond bases his study on fine examples ranging from high-relief stone carvings to sophisticated wall-painting cycles | ||
520 | 1 | |a "Medieval Georgia, in the Caucasus, produced a wealth of monuments to its rulers, of which little is known outside the former Soviet Union. This book is the first of its kind to examine the development of royal imagery in Georgia between the ninth and thirteenth centuries. Positioned between the Christian and Islamic worlds, Georgia provides an excellent case study for the investigation of issues regarding the relationship between art and power and the transmission of ideas between East and West. Byzantine, Persian, Armenian, Turkic, and local traditions are shown to have influenced the image of power promoted by the Georgian rulers, and Antony Eastmond bases his study on fine examples ranging from high-relief stone carvings to sophisticated wall-painting cycles." "Initially, the book traces the production and interpretation of royal imagery over three centuries, from the revival of the Georgian monarchy in the ninth century to its culmination in the reign of Queen Tamar (1184-1213) on the eve of the Mongolian invasions." "Specifically, the book concentrates on the five surviving images of Queen Tamar. These portraits provide untapped evidence of the ways in which artistic traditions were transformed by the need to legitimize the accession of a woman to power. Eastmond also challenges the typically held view that the role of patronage in the functioning and development of royal imagery was centrally controlled. He proposes instead that it was manipulated by members of the court to promote both local and royal interests."--BOOK JACKET | |
520 | 8 | |a Byzantine, Persian, Armenian, Turkic, and local traditions are shown to have influenced the image of power promoted by the Georgian rulers, and Antony Eastmond bases his study on fine examples ranging from high-relief stone carvings to sophisticated wall-painting cycles | |
520 | 8 | |a Initially, the book traces the production and interpretation of royal imagery over three centuries, from the revival of the Georgian monarchy in the ninth century to its culmination in the reign of Queen Tamar (1184-1213) on the eve of the Mongolian invasions | |
520 | 8 | |a Initially, the book traces the production and interpretation of royal imagery over three centuries, from the revival of the Georgian monarchy in the ninth century to its culmination in the reign of Queen Tamar (1184-1213) on the eve of the Mongolian invasions. Specifically, the book concentrates on the five surviving images of Queen Tamar. These portraits provide untapped evidence of the ways in which artistic traditions were transformed by the need to legitimize the accession of a woman to power. Eastmond also challenges the typically held view that the role of patronage in the functioning and development of royal imagery was centrally controlled. He proposes instead that it was manipulated by members of the court to promote both local and royal interests | |
520 | 8 | |a Specifically, the book concentrates on the five surviving images of Queen Tamar. These portraits provide untapped evidence of the ways in which artistic traditions were transformed by the need to legitimize the accession of a woman to power. Eastmond also challenges the typically held view that the role of patronage in the functioning and development of royal imagery was centrally controlled. He proposes instead that it was manipulated by members of the court to promote both local and royal interests | |
596 | |a 2 | ||
600 | 3 | 0 | |a Bagratid dynasty |v Art |
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600 | 3 | 0 | |a Bagratid dynasty |x Art |
600 | 3 | 0 | |a Bagratid dynasty |
600 | 3 | 6 | |a Bagratides |
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650 | 0 | |a Allegories | |
650 | 0 | |a Art and history |z Georgia (Republic) |0 https://id.loc.gov/authorities/names/n82118923-781 | |
650 | 0 | |a Art and history |z Georgia (Republic) | |
650 | 0 | |a Art, Georgian (South Caucasian) | |
650 | 0 | |a Art, Georgian (Transcaucasian) | |
650 | 0 | |a Art, Medieval |z Georgia (Republic) |0 https://id.loc.gov/authorities/names/n82118923-781 | |
650 | 0 | |a Art, Medieval |z Georgia (Republic) | |
650 | 0 | |a Bagratid dynasty in art | |
650 | 6 | |a Allégories | |
650 | 6 | |a Art et histoire |z Géorgie (République) | |
650 | 6 | |a Art géorgien | |
650 | 6 | |a Art médiéval |z Géorgie (République) | |
650 | 7 | |a Allegories |2 fast | |
650 | 7 | |a Art and history |2 fast | |
650 | 7 | |a Art, Georgian (South Caucasian) |2 fast | |
650 | 7 | |a Art, Medieval |2 fast | |
651 | 7 | |a Georgia (Republic) |2 fast |1 https://id.oclc.org/worldcat/entity/E39PBJtRMHxc6jDdXPVCXhmmVC | |
651 | 7 | |a Georgia (Republic) |2 fast | |
653 | 5 | |a Georgien | |
655 | 7 | |a Allegories |2 fast |0 http://id.worldcat.org/fast/1726523 | |
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