从邪恶的象征到君主享乐的特征:十四世纪意大利彩绘手稿中的蒙古人

IF 0.1 0 ASIAN STUDIES
F. Manzari
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引用次数: 0

摘要

中世纪晚期意大利照明手稿中蒙古人的形象在14世纪发生了转变。在与十字军东征有关的文学作品和历史著作中,他们通常被描绘成邪恶或致命邪恶的象征。然而,在其他情况下,它们似乎失去了这一重要的标志性价值,变成了王子赞助人娱乐的异国元素。当然,在威尼斯和热那亚等与东方贸易路线和商业利益联系最紧密的城市,由蒙古人组成的彩灯也并非偶然。蒙古人在更广泛的圣像和世俗像中的出现,以及他们作为异国装饰的蜕变,都与那不勒斯安杰文宫廷的手稿照明有关。这篇文章重新评估了这两种类型的实例,目的是对意大利哥特式照明手稿中的这些类型的表现进行调查。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
From Icons of Evil to Features of Princely Pleasure: Mongols in Fourteenth-Century Italian Illuminated Manuscripts
The representation of Mongols in Late-Medieval Italian illuminated manuscripts undergoes a transformation in the fourteenth century. In literature connected to the Crusades and in historical writings they are usually portrayed as symbols of Evil or of the Deadly Vices. In other instances, nonetheless, they seem to lose this significant iconic value and to turn into an exotic component for the amusement of princely patrons. It is certainly not by chance that illuminations comprising Mongols were produced in the cities most strongly tied to the East by trading routes and commercial interests, like Venice and Genoa. The appearance of Mongols within more widespread iconographies, both sacred and secular, and their metamorphosis as exotic decorations are connected to manuscript illumination at the Angevin court in Naples. This contribution re-evaluates both types of instances, with the purpose of achieving a survey of these types of representation in Italian gothic illuminated manuscripts.
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Ming Qing Yanjiu
Ming Qing Yanjiu Multiple-
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