Ruth Bartal - Academia.edu (original) (raw)

Papers by Ruth Bartal

Research paper thumbnail of La coexistencia de los signos apotropaicos cristianos y paganos en las entradas de las iglesias románicas

Archivo Espanol De Arte, 1993

Research paper thumbnail of Le Cantique des Cantiques. Texte et images

Research paper thumbnail of The survival of early christian symbols in 12th Century Spain

Príncipe de Viana, 1987

T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain... more T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain and the Beam region of the eleventh to the late thirteenth centuries is an interesting phenomenon which has not escaped scholarly notice. Alain Sene, S. H. Caldwell and Constant Lacoste interpret the presentation of the Chrismon in Spain as a symbol of the Trinity, The Passion of Christ and his triumph over death 1. The study of these works is essential for an understanding of the complex religious significance of the monogram in Spanish Romanesque art. However, I shall attempt to take the inquiry a step further, and to consider why this symbol, one of the most evident in the early Christian era between the fourth and sixth centuries, lost its importance in Christian Europe, where it almost entirely disappeared, yet continued to appear in Spain in all periods with especial frequency from the eleventh to the thirteenth centuries. The Chrismon signifies the Tninity, or, according to a broader interpretation, the Passion, the Victory over Death, and the Resurrrection. These dogmas were sacred for all Christianity, and if their representation were the only cause of the wide occurrence of the symbol in Spanish art, it would be difficult to understand why it disappeared from other Christian countries.

Research paper thumbnail of Medieval Images of "Sacred Love": Jewish and Christian Perceptions

S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 desp... more S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 despite the numerous affinities between Jewish and Christian illuminations of the13th and 14th centuries.2 This holds true in particular for the iconography of the Song of Songs.3 Although Jewish artists were presumably familiar with Christian presentations of the Song of Songs, Jewish images based on this text

Research paper thumbnail of La coexistencia de los signos apotropaicos cristianos y paganos en las entradas de las iglesias románicas

Archivo Espanol De Arte, 1993

Research paper thumbnail of Quelques aspectes de l'iconographie des vingt-quatre Vieillards dans la sculpture française du XIIe s

Cahiers De Civilisation Medievale, 1981

Research paper thumbnail of Interpretación iconográfica del tímpano de San Pelayo de Mena

Goya Revista De Arte, 1986

Research paper thumbnail of Le Cantique des Cantiques. Texte et images

Cahiers De Saint Michel De Cuxa, 1994

Research paper thumbnail of On the Wings of an Eagle - Medieval Transmutations of a Classical Metaphor

Research paper thumbnail of The survival of early christian symbols in 12th Century Spain

T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain... more T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain and the Beam region of the eleventh to the late thirteenth centuries is an interesting phenomenon which has not escaped scholarly notice. Alain Sene, S. H. Caldwell and Constant Lacoste interpret the presentation of the Chrismon in Spain as a symbol of the Trinity, The Passion of Christ and his triumph over death 1. The study of these works is essential for an understanding of the complex religious significance of the monogram in Spanish Romanesque art. However, I shall attempt to take the inquiry a step further, and to consider why this symbol, one of the most evident in the early Christian era between the fourth and sixth centuries, lost its importance in Christian Europe, where it almost entirely disappeared, yet continued to appear in Spain in all periods with especial frequency from the eleventh to the thirteenth centuries. The Chrismon signifies the Tninity, or, according to a broader interpretation, the Passion, the Victory over Death, and the Resurrrection. These dogmas were sacred for all Christianity, and if their representation were the only cause of the wide occurrence of the symbol in Spanish art, it would be difficult to understand why it disappeared from other Christian countries.

Research paper thumbnail of The Image of the Saracen in Romanesque Sculpture. Literary and Visual Perceptions

The Origins and Impact of the First Crusade, 2014

Research paper thumbnail of ‘Where has your beloved gone?’: The staging of the Quaerere Deum on the murals of the Cistercian convent at Chełmno

Research paper thumbnail of Medieval Images of "Sacred Love": Jewish and Christian Perceptions

S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 desp... more S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 despite the numerous affinities between Jewish and Christian illuminations of the13th and 14th centuries.2 This holds true in particular for the iconography of the Song of Songs.3 Although Jewish artists were presumably familiar with Christian presentations of the Song of Songs, Jewish images based on this text

Research paper thumbnail of Quelques aspects de l'iconographie des vingt-quatre Vieillards dans la sculpture française du XIIe s

Cahiers de civilisation médiévale, 1981

Research paper thumbnail of The Image of the Saracen in Romanesque Sculpture: Literary and Visual Perceptions

Research paper thumbnail of Anges et louange du triomphe chrétien en Espagne

Cahiers De Saint Michel De Cuxa, 1997

Research paper thumbnail of Anges et louange du triomphe chrétien en Espagne

Cahiers De Saint Michel De Cuxa, 1997

Research paper thumbnail of La coexistencia de los signos apotropaicos cristianos y paganos en las entradas de las iglesias románicas

Archivo Espanol De Arte, 1993

Research paper thumbnail of Le Cantique des Cantiques. Texte et images

Research paper thumbnail of The survival of early christian symbols in 12th Century Spain

Príncipe de Viana, 1987

T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain... more T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain and the Beam region of the eleventh to the late thirteenth centuries is an interesting phenomenon which has not escaped scholarly notice. Alain Sene, S. H. Caldwell and Constant Lacoste interpret the presentation of the Chrismon in Spain as a symbol of the Trinity, The Passion of Christ and his triumph over death 1. The study of these works is essential for an understanding of the complex religious significance of the monogram in Spanish Romanesque art. However, I shall attempt to take the inquiry a step further, and to consider why this symbol, one of the most evident in the early Christian era between the fourth and sixth centuries, lost its importance in Christian Europe, where it almost entirely disappeared, yet continued to appear in Spain in all periods with especial frequency from the eleventh to the thirteenth centuries. The Chrismon signifies the Tninity, or, according to a broader interpretation, the Passion, the Victory over Death, and the Resurrrection. These dogmas were sacred for all Christianity, and if their representation were the only cause of the wide occurrence of the symbol in Spanish art, it would be difficult to understand why it disappeared from other Christian countries.

Research paper thumbnail of Medieval Images of "Sacred Love": Jewish and Christian Perceptions

S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 desp... more S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 despite the numerous affinities between Jewish and Christian illuminations of the13th and 14th centuries.2 This holds true in particular for the iconography of the Song of Songs.3 Although Jewish artists were presumably familiar with Christian presentations of the Song of Songs, Jewish images based on this text

Research paper thumbnail of La coexistencia de los signos apotropaicos cristianos y paganos en las entradas de las iglesias románicas

Archivo Espanol De Arte, 1993

Research paper thumbnail of Quelques aspectes de l'iconographie des vingt-quatre Vieillards dans la sculpture française du XIIe s

Cahiers De Civilisation Medievale, 1981

Research paper thumbnail of Interpretación iconográfica del tímpano de San Pelayo de Mena

Goya Revista De Arte, 1986

Research paper thumbnail of Le Cantique des Cantiques. Texte et images

Cahiers De Saint Michel De Cuxa, 1994

Research paper thumbnail of On the Wings of an Eagle - Medieval Transmutations of a Classical Metaphor

Research paper thumbnail of The survival of early christian symbols in 12th Century Spain

T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain... more T he wide distribution of the Chrismon (or the monogram of Christ) in the monumental art of Spain and the Beam region of the eleventh to the late thirteenth centuries is an interesting phenomenon which has not escaped scholarly notice. Alain Sene, S. H. Caldwell and Constant Lacoste interpret the presentation of the Chrismon in Spain as a symbol of the Trinity, The Passion of Christ and his triumph over death 1. The study of these works is essential for an understanding of the complex religious significance of the monogram in Spanish Romanesque art. However, I shall attempt to take the inquiry a step further, and to consider why this symbol, one of the most evident in the early Christian era between the fourth and sixth centuries, lost its importance in Christian Europe, where it almost entirely disappeared, yet continued to appear in Spain in all periods with especial frequency from the eleventh to the thirteenth centuries. The Chrismon signifies the Tninity, or, according to a broader interpretation, the Passion, the Victory over Death, and the Resurrrection. These dogmas were sacred for all Christianity, and if their representation were the only cause of the wide occurrence of the symbol in Spanish art, it would be difficult to understand why it disappeared from other Christian countries.

Research paper thumbnail of The Image of the Saracen in Romanesque Sculpture. Literary and Visual Perceptions

The Origins and Impact of the First Crusade, 2014

Research paper thumbnail of ‘Where has your beloved gone?’: The staging of the Quaerere Deum on the murals of the Cistercian convent at Chełmno

Research paper thumbnail of Medieval Images of "Sacred Love": Jewish and Christian Perceptions

S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 desp... more S cholars of Jewish art strongly emphasize the distinctness of medieval Jewish iconography,1 despite the numerous affinities between Jewish and Christian illuminations of the13th and 14th centuries.2 This holds true in particular for the iconography of the Song of Songs.3 Although Jewish artists were presumably familiar with Christian presentations of the Song of Songs, Jewish images based on this text

Research paper thumbnail of Quelques aspects de l'iconographie des vingt-quatre Vieillards dans la sculpture française du XIIe s

Cahiers de civilisation médiévale, 1981

Research paper thumbnail of The Image of the Saracen in Romanesque Sculpture: Literary and Visual Perceptions

Research paper thumbnail of Anges et louange du triomphe chrétien en Espagne

Cahiers De Saint Michel De Cuxa, 1997

Research paper thumbnail of Anges et louange du triomphe chrétien en Espagne

Cahiers De Saint Michel De Cuxa, 1997