Colour and Light in Ancient and Medieval Art
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5th Millennium BCE
A01=Anne E. Sassin
A01=Chloe N. Duckworth
Acropolis Museum
Albans Psalter
ancient art
Andreas Petzold
Anne E. Sassin
Anthony McGrath
architectural symbolism
architecture
art
artificial color
Author_Anne E. Sassin
Author_Chloe N. Duckworth
Bonaventure's Writings
Bonaventure’s Writings
Category=AGA
Category=AMX
Category=NKD
classical art
classical studies
color theory
David Govantes-Edwards
De Diversis Artibus
Deep Red
electric lighting
Eowyn Kerr-DiCarlo
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Francesca Galli
Gilded Glass
Giotto
Giotto Di Bondone
historical colour theory applications
Idries Trevathan
James Beresford
Jorge Rodrigues
Katy Soar
Late 5th Millennium BCE
Late Bronze Age Aegean
Lepenski Vir
Lm Ii
Maryam Mahvash
material culture
material culture research
medieval manuscript illumination
Melina Mercouri
Miljana Radivojevic
Parthenon Gallery
prehistoric art analysis
Puna Pau
Rano Raraku
Rapa Nui
sensory perception in art
Shaft Grave IV
Shah Mosque
Sharon Lacey
Stephanie Aulsebrook
Summa Contra Gentiles
Throne Room
Tinted Drawings
Urban Heat Island
visual culture
visual culture studies
Vladimir Ivanovici
Product details
- ISBN 9780367432812
- Weight: 480g
- Dimensions: 174 x 246mm
- Publication Date: 11 Sep 2019
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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The myriad ways in which colour and light have been adapted and applied in the art, architecture, and material culture of past societies is the focus of this interdisciplinary volume. Light and colour’s iconographic, economic, and socio-cultural implications are considered by established and emerging scholars including art historians, archaeologists, and conservators, who address the variety of human experience of these sensory phenomena. In today’s world it is the norm for humans to be surrounded by strong, artificial colours, and even to see colour as perhaps an inessential or surface property of the objects around us. Similarly, electric lighting has provided the power and ability to illuminate and manipulate environments in increasingly unprecedented ways. In the context of such a saturated experience, it becomes difficult to identify what is universal, and what is culturally specific about the human experience of light and colour. Failing to do so, however, hinders the capacity to approach how they were experienced by people of centuries past. By means of case studies spanning a broad historical and geographical context and covering such diverse themes as architecture, cave art, the invention of metallurgy, and medieval manuscript illumination, the contributors to this volume provide an up-to-date discussion of these themes from a uniquely interdisciplinary perspective. The papers range in scope from the meaning of colour in European prehistoric art to the technical art of the glazed tiles of the Shah mosque in Isfahan. Their aim is to explore a multifarious range of evidence and to evaluate and illuminate what is a truly enigmatic topic in the history of art and visual culture.
Chloë N. Duckworth is Post-Doctoral Research Fellow, University of Leicester, UK.
Anne E. Sassin is Honourary Research Fellow, Canterbury Christ Church University, UK.
