Art historians in the context of "Carpet page"

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⭐ Core Definition: Art historians

The history of art focuses on objects made by humans for any number of spiritual, narrative, philosophical, symbolic, conceptual, documentary, decorative, and even functional and other purposes, but with a primary emphasis on its aesthetic visual form. Visual art can be classified in diverse ways, such as separating fine arts from applied arts; inclusively focusing on human creativity; or focusing on different media such as architecture, sculpture, painting, film, photography, and graphic arts. In recent years, technological advances have led to video art, computer art, performance art, animation, television, and videogames.

The history of art is often told as a chronology of masterpieces created during each civilization. It can thus be framed as a story of high culture, epitomized by the Wonders of the World. On the other hand, vernacular art expressions can also be integrated into art historical narratives, referred to as folk arts or craft. The more closely that an art historian engages with these latter forms of low culture, the more likely it is that they will identify their work as examining visual culture or material culture, or as contributing to fields related to art history, such as anthropology or archaeology. In the latter cases, art objects may be referred to as archeological artifacts.

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👉 Art historians in the context of Carpet page

A carpet page is a full page in an illuminated manuscript containing intricate, non-figurative, patterned designs. They are a characteristic feature of Insular manuscripts, and typically placed at the beginning of a Gospel Book. Carpet pages are characterised by mainly geometrical ornamentation which may include repeated animal forms. They are distinct from pages devoted to highly decorated historiated initials, though the style of decoration may be very similar.

Carpet pages are characterised by ornamentation with brilliant colors, active lines and complex patterns of interlace. They are normally symmetrical, or very nearly so, about both a horizontal and vertical axis, though for example the pictured page from the Lindisfarne Gospels is only symmetrical about a vertical axis. Some art historians find their origin in similar Coptic decorative book pages, and they also clearly borrow from contemporary metalwork decoration. Oriental carpets, or other textiles, may themselves have been influences. The tooled leather book binding of the St Cuthbert Gospel represents a simple carpet page in another medium, and the few surviving treasure bindings – metalwork book covers or book shrines – from the same period, such as that on the Lindau Gospels, are also close parallels. Roman floor mosaics seen in post-Roman Britain, are also cited as a possible source. The Hebrew Codex Cairensis, from 9th century Galilee, also contains a similar type of page, but stylistically very different.

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