introductions by Zuzana Frantová
Zuzana Frantová, Herezy and Loyalty/ Hereze a Loajalia
Books by Zuzana Frantová
The objective of this book is to draw attention to fifth-century Rome – to those hundred years wh... more The objective of this book is to draw attention to fifth-century Rome – to those hundred years which even today need to be looked at from different perspectives. It is a key moment, a border between worlds, far too important not to receive further attention.
The studies, presented here together, aim to respond to new demands: the art object remains at the centre, but with a new search for its context. This context would be unthinkable without the key concept of co-existence – between popular and elite culture, popes and emperors, pagans and Christians. As well as between liturgy – intrinsically necessary to the Christian world – and patronage – the intellectual project which stems from a cultural concept. Moreover, co-existence is crucial between the mindset of the Roman elites (the tradition inscribed in the city’s DNA), and new internal and external demands arising from this rich moment in the history of Rome.
The fifth-century, studied in this book, is the moment in which future and past meet, and Antique and Christian coincide. An artistic moment with only one identifying feature: its incredibly rich complexity.
Viella, Roma) ISBN 978-80-210-7786-7 (Masarykova univerzita, Brno) viella libreria editrice via d... more Viella, Roma) ISBN 978-80-210-7786-7 (Masarykova univerzita, Brno) viella libreria editrice via delle Alpi 32 I-00198 ROMA tel. 06 84 17 75 8 fax 06 85 35 39 60 www.viella.it Masaryk University Žerotínovo nám. 9 601 77 Brno eská republika www.muni.cz
The ivory Diptych of Five Parts, deposited in the cathedral treasury in Milan today, remains its ... more The ivory Diptych of Five Parts, deposited in the cathedral treasury in Milan today, remains its exceptional place in the context of Early Christian art for several reasons. Primarily, it is the earliest completely preserved example of the five-part format (i.e. that each of the two panels is made of five separately carved panels). It is also one of the earliest ivory diptychs of explicitly Christian function. What makes the monument unique and utterly luxurious is the technique of cloisonné, with which its central panels are executed. It is the only known connection of ivory with the technique in Early Christian art. It is mainly for these reasons that the Milan Diptych has been repeatedly reproduced and cited by a substantial part of the studies dealing with Early Christian monuments. 1 The numerous mentions of it, however, with a few exceptions, 2 limit themselves to the question of its dating and provenience, or the reading of the narrative scenes, in which they proceed from the data set in 1976 by Wolfgang Fritz Volbach. The work presented does not set its aim only to subject the proposed hypotheses to critical thought, weigh the places pronounced doubts and more precisely date the Diptych and determine the likely place of its creation. It is primarily an attempt to answer other questions which arise when looking at the high-quality and without a doubt also exceptionally thoughtout art work. These questions include predominantly the clarification of the artistic models, determining the possible commissioner of the work, the reason for its creation and determining its art historical and cultural historical significance.
Presentations by Zuzana Frantová
The project Migrating Art Historians has risen from the students and teachers’ experiences at the... more The project Migrating Art Historians has risen from the students and teachers’ experiences at the Department of Art History, Masaryk University, that they have been gathering on French medieval pilgrimage paths for the past five years. What they came to realize is that observing artwork while traveling on foot considerably changes the ability to understand it and makes one study the artwork as an actual event. Of course, behind the process of image creation, there is primarily the intention of a patron and the ability of the artisans. However, it is the pilgrim who – in a particular moment and at a particular place – apprehends and thus possesses the image. Because of this immediate personal contact, the immobile images gain the capacity to enlarge their own visual impact and to retroactively grasp a part of the movement dynamism. That is why a group of twelve students decided to widen their experience as well as to put it into a specific scientific framework and – with the help of modern technology – to transmit it to the wider public.
Conferences by Zuzana Frantová
Call for papers by Zuzana Frantová
Edited by: Ivan Foletti and Zuzana Frantová
Talks by Zuzana Frantová
Teaching Documents by Zuzana Frantová
The short documentary movies produced within the project Migrating Art Historians deal with vario... more The short documentary movies produced within the project Migrating Art Historians deal with various topics linked to the phenomenon of pilgrimage in the Middle Ages and today. The films 2 to 5 speak about the different perceptions and intellectual constructions about the Medieval art; about the importance of light in the life of a pilgrim and in the life of an artifact; about the perception of time during the pilgrimage and about the alimentation of a medieval and contemporary pilgrim.
Studia Artium Mediaevalium Brunensia by Zuzana Frantová
Studia Artium Mediaevalium Brunensia 8
Papers by Zuzana Frantová
Edited Books by Zuzana Frantová
Convivium - Supplementum, 2022
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introductions by Zuzana Frantová
Books by Zuzana Frantová
Open access: https://revistas.ucm.es/index.php/EIKO/issue/view/3715
The studies, presented here together, aim to respond to new demands: the art object remains at the centre, but with a new search for its context. This context would be unthinkable without the key concept of co-existence – between popular and elite culture, popes and emperors, pagans and Christians. As well as between liturgy – intrinsically necessary to the Christian world – and patronage – the intellectual project which stems from a cultural concept. Moreover, co-existence is crucial between the mindset of the Roman elites (the tradition inscribed in the city’s DNA), and new internal and external demands arising from this rich moment in the history of Rome.
The fifth-century, studied in this book, is the moment in which future and past meet, and Antique and Christian coincide. An artistic moment with only one identifying feature: its incredibly rich complexity.
Presentations by Zuzana Frantová
Conferences by Zuzana Frantová
Call for papers by Zuzana Frantová
Talks by Zuzana Frantová
Teaching Documents by Zuzana Frantová
Studia Artium Mediaevalium Brunensia by Zuzana Frantová
Papers by Zuzana Frantová
Edited Books by Zuzana Frantová
Open access: https://revistas.ucm.es/index.php/EIKO/issue/view/3715
The studies, presented here together, aim to respond to new demands: the art object remains at the centre, but with a new search for its context. This context would be unthinkable without the key concept of co-existence – between popular and elite culture, popes and emperors, pagans and Christians. As well as between liturgy – intrinsically necessary to the Christian world – and patronage – the intellectual project which stems from a cultural concept. Moreover, co-existence is crucial between the mindset of the Roman elites (the tradition inscribed in the city’s DNA), and new internal and external demands arising from this rich moment in the history of Rome.
The fifth-century, studied in this book, is the moment in which future and past meet, and Antique and Christian coincide. An artistic moment with only one identifying feature: its incredibly rich complexity.