Through the discussion of two practical "case studies'; the authors deal with a classical theme of iconographica I studies, that is the complex relationship between text and image. The two examples explain in particular how the"intention"ofthe artist or patron, and so the deeper meaning of the pictures, are not revealed by the exact correspondences between text and image, but emerge mainly from the recognition of the differences. Often this gap between text and image can be originated from the liturgy or can be explained by the links with ritual practices, in which the pictures are involved. Catholic prelates from Kotor were able to commission such artists who could paint the fresco programmes of town churches mostly based on models found in Byzantine art because such solutions offered them possibilities of forming their own programme based on the liturgy of the Catholic Church. In the case of the Olivuccio di Ceccarello's Dormitio, from Sirolo, the semi-liturgical rituality of the assault on the properties of the Jews, accepted by the Church, justifies the scars on the image of Jews and clarifies the reason of the selection of episodes made by the painter on the basis of the Legenda aurea, with the intention to highlight the negative role of the Jews, as opposed to the positive one played by the incredulous Apostle Thomas.
This publication is based upon work from COST Action Islamic Legacy: Narratives East, West, South, North of the Mediterranean (1350-1750), supported by COST (European Cooperation in Science and Technology). COST (European Cooperation in Science and Technology) is a funding agency for research and innovation networks. Our Actions help connect research initiatives across Europe and enable scientists to grow their ideas by sharing them with their peers. This boosts their research, career, and innovation. www.cost.eu This book is the product of the COST Action Islamic Legacy: Narratives East, West, South, North of the Mediterranean (1350Mediterranean ( -1750. The purpose of the Action is to provide a transnational and interdisciplinary approach capable of overcoming the segmentation that currently characterizes the study of relations between Christianity and Islam in late medieval and early modern Europe and the Mediterranean. The book was also supported by the project IMPI2. Antes del orientalismo: Figuras de la alteridad en el Mediterráneo de la Edad Moderna: del enemigo interno a la amenaza turca financed by the Spanish Ministry of Science and Innovation.
Castro is starting his career along the Kenyan coast doing portraits and imitating the style of many European artists, such as Salvador Dalí. A rich collection of his early works is owned by Lezlie Rampinelli in Kilifi.
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