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...

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Bibliographic Details
Main Author: Eastmond, Antony, 1966-
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 
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338 |a volume  |b nc  |2 rdacarrier 
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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650 0 |a Art, Georgian (South Caucasian) 
650 0 |a Art, Georgian (Transcaucasian) 
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650 0 |a Art, Medieval  |z Georgia (Republic) 
650 0 |a Bagratid dynasty in art 
650 6 |a Allégories 
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