[Redbook8:307][19910306:0930d]{Romanesque Art [continued]}[6th March 1991]
19910306:0930
[continued]
‘The Abbot of Cluny once requested the loan of a book for copying, because the Cluny manuscript, lent to a priory, had been eaten by a bear.’
– ibid, [Encyclopaedia Britannica 25:] 339
[continued]
[PostedBlogger18for20102023]
[Redbook8:306-314][19910306:0930c]{Romanesque Art}[6th March 1991]
19910306:0930
[continued]
‘Romanesque is the name given to the artistic and architectural style predominant in Europe from about the mid-11th century* until the advent of Gothic.** The name itself – coined in 1818 and comparable to the term Romance for the languages based on Latin – indicated the derivative but*** transformed nature of the style. Based on the orderly and unified arts of imperial Rome, the Romanesque developed during a long period of governmental fragmentation and instability.**** It was a scattered network of insular monasteries, rather than a central capital, that perpetuated cultural activity during this period. While the heritage of Roman monuments provided a common source of inspiration to artists of the Romanesque, numerous regional influences, including those of # Byzantium, the Muslim world, Scandinavia, and the Teutonic lands, produced a striking array of variations on the Roman theme.’
#*
*(but see [[Redbook8:307][19910306:0930c]{Romanesque Art []continued #]}[6th March 1991],] 307 below)
**(‘during the 12th century’ – [[Redbook8:314][19910307:1718]{Gothic Art}[7th March 1991],] 314)
***1024C-S~
2048A-~J~
****[See [Redbook8:308][19910306:0930h]{Romanesque Art [continued (7)]}[6th March 1991], fn=**]
#cf the Greek Orientalising period c725-600BCE, ie a little later, after 2048K~768[BCE]
{(& see [[Redbook8:311][19910306:0930r]{Romanesque Art [continued (14)}[6th March 1991,]] 311)}
#* – E[ncyclopaedia] B[ritannica] 25:338
[cf [Redbook8:308][19910306:0930h]{Romanesque Art [continued (7)]}[6th March 1991]]
[continued]
[PostedBlogger18for19102023]
[Redbook8:306][19910306:0930b][Proverbs [continued]][6th March 1991]
19910306:0930
[continued]
‘The human spirit is the lamp of Yahweh – searching the deepest self.’
*
* – Proverbs 20:27
[From the Hebrew Bible/Christian Old Testament]
[PostedBlogger18102023]
[Redbook8:306][19910306:0930][Proverbs][6th March 1991]
19910306:0930
‘Anyone is trapped who cries “Dedicated!” and begins to reflect only after the vow.’
*
* – Proverbs 20:25
[From the Hebrew Bible / Christian Old Testament]
[continued]
[PostedBlogger13for17102023]
[Redbook8:305][19910305:2240e]{Chaos* in the Cathedral [continued (5)]}[5th March 1991]
19910305.2240
[continued]
‘The vaulted basilica plan, exemplified by the church of Everuk, was first used throughout most of Armenia (5th and 6th centuries) but was abandoned fairly soon in favour of a centralised plan, crowned by a dome with a conical roof. This type of church, a modification of Byzantine central-plan, round-domed churches, may already have been built in Armenia by the 5th century, as evidenced in the foundations of the church at Echmiadzin; from the 6th century on, it became the predominant form. The monuments of the first period display imaginative variations of the basic, centralised scheme: different adaptations of a square buttressed by niches (St. Gayane, Mren [sic]), trefoils (church of Thalin), quatrefoils (church of Zvarthnots), hexagons, octagons, or other polygonal types. The complexities of the inner construction contrast with the massive simplicity of the exterior; the niches, the subsidiary chambers, and even the main apse are often hidden in the thickness of the walls, the uniform surfaces of which are often broken up by decorative arcades and by triangular slits or recesses marking the location of the inner divisions.’
**
*[See [Redbook8:302-306][19910305:2240]{Chaos* in the Cathedral}[5th March 1991], fn=*]
**– ibid, [Encyclopaedia Britannica 13:981]
[PostedBlogger13for16102023]
[Redbook8:304][19910305:2240d]{Chaos* in the Cathedral [continued (4)]}[5th March 1991]
19910305.2240
[continued]
‘The third phase,** lasting until the end of the 640s,*** shows a combination of the two approaches that characterised the first phase. The combination of a complex, four-apsed interior with a facade that does not reflect that structure is accomplished in the Cathedral of Bana (in modern Turkey), built in the mid-7th century. The shape of its interior is determined by a cross formed by four apses. The structure is entirely circumscribed by a circular ambulatory, so that the facade gives no hint of of the interior structure and is in fact a plain cylinder.’
****
*[See last [Redbook8:302-306][19910305:2240]{Chaos* in the Cathedral}[5th March 1991], fn=*]
**[See last previous ts entry]
***[in Georgia, 6th century to 620ce]
****– ibid, [Encyclopaedia Britannica 13:] 981
[continued from extract in last previous ts journal entry]
[continued]
[PostedBlogger13for15102023]
[Redbook8:303-304][19910305:2240c]{Chaos* in the Cathedral [continued (3)]}[5th March 1991]
19910305.2240
[continued]
‘The second** phase in the development of architectural forms*** lasted from about 620 to 640[ce]. During this period, a different approach to the relation between exterior and interior form was explored. This approach is exemplified by the church at Tsromi (626-634/635[ce]), in which the typical cruciform interior takes the form of a cross inscribed in a square. The central area is distinguished from the arms of the cross by four free-standing interior piers. Because the arms of the cross do not extend beyond the square, the walls of the church do not reflect an interior structural plan. Thus, the exterior is freed from the shape of the inner space by moving the articulating elements inward. The central dome, instead of resting on squinches (supports) above the exterior alls, as at Dzhvari, is supported by the interior columns and has no relation to the walls.
****
*[See last previous ts entry but one, [Redbook8:302-306][19910305:2240]{Chaos* in the Cathedral}[5th March 1991], fn=*]
**[See last previous ts entry]
***[in Georgia, 6th century to 620ce]
****– ibid, [Encyclopaedia Britannica 13:] 981
[continued from extract in last previous ts journal entry]
[continued]
[PostedBlogger13for14102023]
[Redbook8:303][19910305:2240b]{Chaos* in the Cathedral [continued]}[5th March 1991]
19910305.2240
[continued]
‘The most impressive monument of the period** was the Sanctuary of the Cross of St. Nino at Mtskheta, at [sic] Dzhvari.*** This church had an impressive interior: four large apses and four apsidioles, or smaller apses, between them protruded from a central chamber. **** Recessed chambers protruded from the apsidioles. While ingeniously adapted to the structural demands of the interior of the church, the exterior was visually completely different. Its lines were rectilinear instead of curved, and it consisted of four facades designed to be seen as single and complete units, so the church might be viewed to advantage from all sides. The problem of structure and visual effect was thus admirably solved with an equal concession to both the interior and the exterior design.
#
*[See last previous ts entry, [Redbook8:302-306][19910305:2240]{Chaos* in the Cathedral}[5th March 1991], fn=*; & fn=**** below]
**(6th [century] to 620CE, Georgia)
***(in Georgia)
****[cf the Mandelbrot set? (See eg last previous ts entry, fn=**]
# – ibid, [Encyclopaedia Britannica 13:] 981
[continued]
[PostedBlogger09for13102023]
[Redbook8:302-306][19910305:2240]{Chaos* in the Cathedral}[5th March 1991]
19910305.2240
***
{‘}In [the Cathedral of] St. Basil [(Vasily) the Blessed (the Pokvovsky Cathedral) in Red Square in Moscow (1554-60) the Western academic architectural concepts, based on rational, manifest harmony, were ignored; the structure, with no easily readable design and a profusion of disparate colourful exterior decoration, is uniquely medieval Russian in content and form, in technique, decoration and feeling. St Basil, like its predecessors the churches at Kolomenskoye and Dyakovo, embodies the characteristic features of the wood churches of northern Russia translated into masonry.’
**
*[Presumably a (later) reference to correlations such as those discussed the entry referred to in fn=** (below)]
**{cf IX. [[Redbook9:227-229][19910501:08nn#]High Renaissance in Italy (1495-1520[ce][1st May 1991],] 228-229}
***E[ncyclopaedia] B[ritannica] 13:980
[continued]
[PostedBlogger09for12102023]
[Redbook8:301-302][19910302:1808f]{Spiral, Squares, and Curves}[2nd March 1991]
19910302.1808
[continued]
There is a very speculative idea that in 3-dimensional spatial building the 3x2048-year period from 4096BCE to 2048CE may be associated with, respectively, pyramidical, conical or spiral forms; square post-and-lintel-type forms; and curving forms such as arches, vaults and domes – the last being characteristic of the Christian era until very recent times. Although pyramids were built from c[irca] 2688 to c0BCE in Egypt, the pyramid age there was c[irca] 2686-2345BCE.*
Pyramids have also been built elsewhere in the World (eg South America) at much later dates. On the other hand,** the ziggurats of Mesopotamia were built from about 2200 until about 500BCE, definitely within the second 2048-year period rather than the first where they should be. I doubt whether relative development of cultures is sufficient to explain this.
***
*2048G~
[Per reference in *** below]
**[sic]
***{cf [[Redbook8:337-338][19910315:1000#]{Dynamic Ascent towards the Other}[15th March 1991],] 337}
[PostedBlogger09for11102023]
