Journal of the British Archaeological Association最新文献

{"title":"Palette, Pigments and Pictorial Narrative in 11th-Century England: The Use of Colour in the Bayeux Tapestry and the Old English Hexateuch","authors":"Michael Lewis, Richard Gameson","doi":"10.1080/00681288.2024.2328966","DOIUrl":"https://doi.org/10.1080/00681288.2024.2328966","url":null,"abstract":"This article examines how colour was used as a tool of pictorial narrative in the Bayeux Tapestry and the illustrated Old English Hexateuch, the two longest such cycles to survive from 11th-century...","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"27 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141738395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Worlds of Villard de Honnecourt: The Portfolio, Medieval Technology, and Gothic Monuments.","authors":"Matthew m. Reeve","doi":"10.1080/00681288.2023.2252287","DOIUrl":"https://doi.org/10.1080/00681288.2023.2252287","url":null,"abstract":"Published in Journal of the British Archaeological Association (Ahead of Print, 2024)","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"184 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141512067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Effects of different feeding systems on ruminal fermentation, digestibility, methane emissions, and microbiota of Hanwoo steers.","authors":"Seul Lee, Jungeun Kim, Youlchang Baek, Pilnam Seong, Jaeyong Song, Minseok Kim, Seungha Kang","doi":"10.5187/jast.2023.e82","DOIUrl":"10.5187/jast.2023.e82","url":null,"abstract":"<p><p>This study evaluates how different feeding systems impact ruminal fermentation, methane production, and microbiota of Hanwoo steers native to Korea. In a replicated 2 × 2 crossover design over 29 days per period, eight Hanwoo steers (507.1 ± 67.4 kg) were fed twice daily using a separate feeding (SF) system comprising separate concentrate mix and forage or total mixed rations (TMR) in a 15:85 ratio. The TMR-feeding group exhibited a considerable neutral detergent fiber digestibility increase than the SF group. However, ruminal fermentation parameters and methane production did not differ between two feeding strategies. In addition, TMR-fed steers expressed elevated Prevotellaceae family, Christensenellaceae R-7 group, and an unidentified Veillonellaceae family genus abundance in their rumen, whereas SF-fed steers were rich in the Rikenellaceae RC9 gut group, Erysipelotrichaceae UCG-004, and <i>Succinivibrio</i>. Through linear regression modeling, positive correlations were observed between the Shannon Diversity Index and the SF group's dry matter intake and methane production. Although feeding systems do not affect methane production, they can alter ruminal microbes. These results may guide future feeding system investigations or ruminal microbiota manipulations as a methane-mitigation practice examining different feed ingredients.</p>","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"15 1","pages":"1270-1289"},"PeriodicalIF":2.3,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11007303/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81001331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Annual Report of the Council for the Year Ended 31 December 2022","authors":"","doi":"10.1080/00681288.2023.2239003","DOIUrl":"https://doi.org/10.1080/00681288.2023.2239003","url":null,"abstract":"","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"168 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135350647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Beatrice de Roos (d. 1415) and the Making of Art","authors":"Sarah Brown","doi":"10.1080/00681288.2023.2221105","DOIUrl":"https://doi.org/10.1080/00681288.2023.2221105","url":null,"abstract":"This article examines the involvement of Beatrice, dowager Baroness Roos (d. 1415) in the making of art. Her patronage of masons and tomb-makers, glaziers and seal-makers, is explored in detail, showing her to have commissioned works from two of the most prominent English artists of the late medieval period. Her interest in the inventive use of heraldry and her role in the creation of a major monument in St Paul’s Cathedral is established. Her right to be acknowledged as the donor of the St William window in York Minster is reasserted, and her influence on its content and meaning is demonstrated. The gift of this window made Beatrice the single most important secular benefactor of York Minster, a fact that has not been acknowledged before in print, but was recorded by the medieval cathedral chapter in the glazing of the Minster’s western choir clerestory.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"94 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135350651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Urnes Stave Church and Its Global Romanesque Connections","authors":"Nick Walkley","doi":"10.1080/00681288.2023.2234760","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234760","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 For example, the covers of J. Graham-Campbell, Viking Art, World of Art, rev. edn (New York 2021), and E. Roesdahl, The Vikings, 3rd edn (London 2016).2 ‘Mir kommt es vor, als erhielten diese Werke dadurch etwas Mysteriöses und durch dieses noch unenthüllte Geheimniss ihrer Entstehung einen ganz eigenthümlichen Reiz’: J. C. Dahl, Denkmale einer sehr ausgebildeten Holzbaukunst aus den frühesten Jahrhunderten in den innern Landschaften Norwegens (Dresden 1837), no page number. Trans. Nick Walkley and Jarle Tollefsrud.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134912996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Saint Cecilia in the Renaissance: The Emergence of a Musical Icon.","authors":"Julia Faiers","doi":"10.1080/00681288.2023.2234763","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234763","url":null,"abstract":"From the 15th century, many artists and sculptors depicted the early Christian virgin martyr Cecilia as a musician, singing or playing an instrument, while composers dedicated works to her. For a spell of more than 200 years Cecilia was regarded as the patron saint of music and musicians. Before the 15th century, however, Cecilia was just another virgin saint with no obvious distinguishing skills or attributes. The purpose of John A. Rice’s book, which he states clearly in the introduction, is to plot the course of Cecilia’s dramatic trajectory from bottom-rung saint to artists’ favourite and musicians’ muse. And while the shape-shifting Cecilia enjoyed her newfound status during the period commonly labelled the Renaissance, the author points out that detractors questioning her right to this honour emerged as early as the 17th century. These detractors, and the author of this new book, remark that the late-Roman Passio of Cecilia’s life simply does not refer to the saint’s musical practices or abilities. How did this saint then acquire her musical status and cultural renown? John A. Rice presents in lucid prose the social and cultural context which fostered the transformation of Saint Cecilia into a poster girl for the musical arts during the 16th, 17th and 18th centuries. Scholars have delved into Cecilia’s frequent appearances from the medieval period in manuscript illuminations, frescoes, and altarpieces that depict her singing or playing the organ, clavichord, virginal, violin, bass-viol and lute. The author takes an interdisciplinary approach to argue that Cecilia’s perceived musical talents grew from the evolving performance of the liturgy, and from exchanges between the visual arts, music and musical institutions, and among artists, musicians and patrons. Cecilia’s cult began with the 5th-century Passio sancta Caeciliae by Arnobius the Younger, which spread through Europe until its practice was displaced by the liturgy for Cecilia’s Day, 22 November, and, in the 13th century, by Jacobus de Voragine’s popular Golden Legend. The reinvention seems to have stemmed from a single phrase in the Passio, ‘cantantibus organis’, ‘while the instruments sang’ (at Cecilia’s unwanted, arranged marriage ceremony), and took flight through the brushes of artists. In their hands, the saint became identified with the organ, to distinguish her from other virgin martyrs that wealthy patrons requested be included alongside the depictions of the Virgin in the artworks they ordered for their homes and local churches. He situates this practice in a context which saw artists include attributes for other saints despite their acknowledged shaky origins, such Agnes’s lamb (from the latin agnus) and Jerome’s lion (‘borrowed’ from another saint’s life). Rice acknowledges the scholarly work that addresses Cecilia’s role as a musician in the visual arts, in particular that of Thomas Connolly, and makes new assertions about the saint’s stratospheric rise. The author refers ","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134913175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Continuity and Revival: 12th-Century Standing Crosses in Huntingdonshire","authors":"P. Everson, David Stocker","doi":"10.1080/00681288.2023.2233330","DOIUrl":"https://doi.org/10.1080/00681288.2023.2233330","url":null,"abstract":"This paper arises from the authors’ preparation of the Corpus of Anglo-Saxon Stone Sculpture volume on Cambridgeshire and Huntingdonshire. As in previous volumes, we have looked hard at the manner in which the middle- and late-Saxon tradition of erecting ‘high crosses’ at significant locations, or to mark significant graves, was continued beyond the Norman Conquest in what we have called a ‘continuing tradition’ of monument type and design. Cambridgeshire and Huntingdonshire’s Anglo-Scandinavian stone sculpture is well known for its quantity, and this prolific local tradition of monument-making continued after the Norman Conquest. We focus here on five elaborately decorated Huntingdonshire ‘high crosses’ in the pre-Conquest tradition. They belong to two interrelated groups: two have a monastic context, three a secular one. Monuments at Fletton and Kings Ripton each marked significant points in the landscape. Whilst the monument at Hilton had an analogous function in perhaps marking a place of congregation, its date and use of architectural details also connects it with the pair of major monuments from Godmanchester and Tilbrook/Kimbolton, for which we suggest an additional political significance within the early cult of St Thomas of Canterbury.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"27 - 70"},"PeriodicalIF":0.5,"publicationDate":"2023-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47969774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Romanesque Tomb Effigies: Death and Redemption in Medieval Europe, 1000–1200","authors":"Jessica Barker","doi":"10.1080/00681288.2023.2234761","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234761","url":null,"abstract":"liturgical season. It must have created a spectacle in great contrast with the more fixed, muted, aged-pine interior greeting today’s visitor. The remaining four chapters each address the carvings on the building’s interior stave capitals, another unique aspect of this building which reveals glimpses of 12th-century cultural exchange. The contrasting perspectives offered here by Kirk Ambrose, Thomas Dale, Elizabeth den Hartog and Kjartan Hauglid examine the iconography through various lenses and connect the visual language of this corner of Norway with Mediterranean and Islamic cultures, presenting an international or even cosmopolitan view of medieval Urnes. The absence of a conclusion to the book is suggestive of its aim of offering a platform upon which future research can build, rather than providing answers. It makes a significant departure from previous publications, predominantly written by Scandinavian male authors, whose gaze has constructed a particular understanding of the building. Here new contributions from a more diverse international perspective afford this perennially intriguing subject a broader range of analysis than has previously been achieved. As proto-preservationist and landscape artist Johan C. Dahl wrote already in 1837, Urnes and particularly its carvings had ‘acquired a sort of mysterious air and a quite peculiar appeal that is due to the still undisclosed secrets surrounding their origin’. Today, that mysteriousness finds itself increasingly commercially exploited. Nevertheless, this academic publication makes an excellent contribution to counterbalancing Urnes’ misappropriation by extending the re-evaluation and re-exploration of those ‘still undisclosed secrets’ further along knowledge-based trajectories.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"323 - 325"},"PeriodicalIF":0.5,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43570578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Incidental Archaeologists: French Officers and the Rediscovery of Roman North Africa","authors":"Z. Çelik","doi":"10.1080/00681288.2023.2234764","DOIUrl":"https://doi.org/10.1080/00681288.2023.2234764","url":null,"abstract":"front of the main altar, the sculpture helped to transform the church into one of Rome’s most revered shrines (p. 185). An epilogue takes us away from the chronological and geographic framework of the book to explore the saint’s evolution from saint to muse through the 17th century. The author sought to understand more deeply the origins of the English celebration of Cecilia’s Day and why Protestants came to regard the saint as a symbol of the power of music. Rice has also provided an appendix listing 170 pieces of music composed for Cecilia that were published or copied before 1620, including motets, Masses, and devotional songs. They offer a rich resource not only for music historians but for performers. The work is accessible, well argued, and confidently transcends academic disciplinary boundaries, fusing textual, visual and musical sources with aplomb. Yet this art historian reviewer was unfamiliar with much of the musical terminology, suggesting that of all readers, musicians and music historians are likely to reap the richest rewards. However, the book’s seventy-three colour plates offer a welcome visual chronology of Cecilia’s evolving iconographic role and rising musical star. They encompass a variety of media, including illuminations on parchment in medieval antiphonaries, woodcuts in early printed books, site-specific frescoes and panel paintings, and 16th-century engravings. The colour plates alone attest to the broad dissemination of Cecilia’s image as musician across multiple artistic supports and a wide geographic area. Rice’s book is a readable and richly researched work that makes an invaluable contribution to the understanding of this saint’s iconographic evolution.","PeriodicalId":42723,"journal":{"name":"Journal of the British Archaeological Association","volume":"176 1","pages":"338 - 340"},"PeriodicalIF":0.5,"publicationDate":"2023-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48040604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}