A beautifully illustrated tour of the visual culture of medieval falconry in Europe and beyond.

Medieval falconry was not just about hunting; the practice also signified sovereignty, power, and diplomacy. In The Art of Medieval Falconry, Yannis Hadjinicolaou describes the visual culture that sprang up around these practices, tracking how imagery, equipment, and even the birds themselves moved through the medieval world. Indeed, Hadjinicolaou shows that falconry has been a global phenomenon since at least the thirteenth century.

This beautifully illustrated book offers a unique glimpse at how cultures across the globe adopted and adapted the visual culture of medieval falconry.

This book explores for the first time the concept of synagonism (from σύν, together and ἀγών, struggle) for an analysis of the productive exchanges between early modern painting, sculpture, architecture, and other art forms in theory and practice. In doing so, it builds on current insights regarding the so-called paragone debate, seeing this, however, as only one, too narrow perspective on early modern artistic production. Synagonism, rather, implies a breaking up of the schematic connections between art forms and individual senses, drawing attention to the multimediality and intersensoriality of art, as well as the relationship between image and body.

Welche Beziehung besteht zwischen Bildpraktiken und der ikonischen Kraft des Fliegens, insbesondere der Falknerei? Das Buch untersucht erstmals diese Beziehung, indem es sich auf Schnittstellen von Kultur und Natur, Sehvermögen und Blick, Taktilität und Wahrnehmung, Perspektive und Überwachung konzentriert. Aber auch Themen wie politische Ikonologie, die Migration von Objekten und Bildern oder die Mensch-Tier- Interaktion werden angesprochen. Mit Beiträgen von Baudouin van den Abeele, Horst Bredekamp, Robert Felfe, Peter Geimer, Yannis Hadjinicolaou, Christine Kleiter, Klaus Krüger, Tanja Michalsky, Andrea Pinotti, Herman Roodenburg, Monika Wagner, Gerhard Wolf und Frank Zöllner.

The realization that a work of art should only be judged as a product of the factors of its time, in which real life is reflected inspired Aby Warburg to formulate an art history as a cultural science that knows neither temporal nor spatial boundaries. This book extends his new science of pictorial orientation to include the consciousness of artists as seismographs (Uwe Fleckner) up to the present day: concentrating on one single object each, the short contributions by international art historians assembled in this volume outline a contemporary approach to art history and show how artworks, as reflecting instruments of orientation, become seismographs of the world--and through them, we as well.

Handeling bedeutet im Niederländischen nicht nur die Handhabung des Instruments (Manier), sondern auch Aktion und ist unmittelbar mit der Motorik und so mit dem gesamten Körper verbunden. Das Performative des Farbauftrags als kognitiver Prozess wurde nicht nur in der Praxis der späten Rembrandtisten thematisiert, vor allem bei Arent de Gelder, sondern auch in der Theorie von Samuel van Hoogstraten.

Diese Studie untersucht zum ersten Mal das Handeling in Theorie und Praxis der Zeit von 1650 bis 1720. Sie geht dabei verschiedenen Aspekten der Rembrandtschen Praxis nach, die von den späten Schülern und nicht blo mimetisch, sondern produktiv weiterverfolgt wurden, wie etwa die denkende Hand, Farbe als Material oder das Verhältnis zwischen Nah und Fern bei der Bildwahrnehmung.

Thinking Bodies - Shaping Hands focuses on the critical as well as historical dimension of the handling of the brush and of the resulting appearance of colour on the painted surface in art and art theory from the middle of the 17th (above all from 1660) to the dawn of the 18th century in the Netherlands. More specifically, it deals with Rembrandt's last pupils such as Arent de Gelder. Handeling describes an active, embodied process that is connected to the motion of the hand with the brush or with any other kind of tool. This term, up to now not sufficiently appreciated in scholarly literature, seems to be fruitful in this context. It is not so much connected with the term style, as with a prior step, which is equivalent to manner. At the same time, its meaning in Dutch till today is action. Handeling is an act that could be described as a form-act. It focuses on Formgestaltung, in which these actions themselves are understood as processes. Examining the Rembrandtist ideology of painting, this study attempts to reveal the embodied process of painting in the sense of a bodily articulation during the application of colour. This occurs within the productive tension between theory and practice.