Minor Arts Becoming Major : The Classical in Dialogue with the Non-Classical at the Originsof the Art of Stained Glass

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F24%3A00144590" target="_blank" >RIV/00216224:14210/24:00144590 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.romanicodigital.com/sites/default/files/2025-05/C%2040-2_Alberto%20Virdis_0.pdf" target="_blank" >https://www.romanicodigital.com/sites/default/files/2025-05/C%2040-2_Alberto%20Virdis_0.pdf</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.61023/codexaq.2024.40.002" target="_blank" >10.61023/codexaq.2024.40.002</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Minor Arts Becoming Major : The Classical in Dialogue with the Non-Classical at the Originsof the Art of Stained Glass

Popis výsledku v původním jazyce

The distinction between "major" and "minor" arts has its source within Renaissance humanism. In the fifteenth century, Filarete identified the decadence of the architecture of his time in the transalpine trend of building monuments in the form of thuribles and tabernacles, imitating the works of goldsmiths on a larger scale. Therefore, since their first delineation "minor arts" have included goldsmithing and other related art forms. Despite its monumental dimensions, stained glass soon joined this category in the post-medieval literature on art. As confirmed by recent research, the aesthetics and techniques of the arts of goldsmithing, enameling, and stained glass turned out to be deeply intertwined. This article investigates the artistic intersections that underpinned the emergence of stained-glass windows in the early Middle Ages, focusing on key aspects such as changes in scale and the tension between continuity and rupture in classical and non-classical traditions, characteristic of the long late Antiquity up to the beginning of the Carolingian Renaissance.

Název v anglickém jazyce

Minor Arts Becoming Major : The Classical in Dialogue with the Non-Classical at the Originsof the Art of Stained Glass

Popis výsledku anglicky

The distinction between "major" and "minor" arts has its source within Renaissance humanism. In the fifteenth century, Filarete identified the decadence of the architecture of his time in the transalpine trend of building monuments in the form of thuribles and tabernacles, imitating the works of goldsmiths on a larger scale. Therefore, since their first delineation "minor arts" have included goldsmithing and other related art forms. Despite its monumental dimensions, stained glass soon joined this category in the post-medieval literature on art. As confirmed by recent research, the aesthetics and techniques of the arts of goldsmithing, enameling, and stained glass turned out to be deeply intertwined. This article investigates the artistic intersections that underpinned the emergence of stained-glass windows in the early Middle Ages, focusing on key aspects such as changes in scale and the tension between continuity and rupture in classical and non-classical traditions, characteristic of the long late Antiquity up to the beginning of the Carolingian Renaissance.

Druh

J_imp - Článek v periodiku v databázi Web of Science

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

<a href="/cs/project/GA23-05243S" target="_blank" >GA23-05243S: Fragmentované obrazy. Ke kořenům umění vitráží</a><br>

Návaznosti

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Rok uplatnění

2024

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Codex Aquilarensis

ISSN

0214-896X

e-ISSN

2386-6454

Svazek periodika

40

Číslo periodika v rámci svazku

1

Stát vydavatele periodika

ES - Španělské království

Počet stran výsledku

23

Strana od-do

35-57

Kód UT WoS článku

001667382900001

EID výsledku v databázi Scopus

2-s2.0-105014964491