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Signs of faith: Understanding the mu...

Spradley, Rachel Hay.

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Signs of faith: Understanding the mudejar baptismal fonts of fifteenth-century Toledo.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Signs of faith: Understanding the mudejar baptismal fonts of fifteenth-century Toledo./
作者:	Spradley, Rachel Hay.
面頁冊數:	132 p.
附註:	Source: Masters Abstracts International, Volume: 54-04.
Contained By:	Masters Abstracts International54-04(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1587476
ISBN:	9781321713688

Signs of faith: Understanding the mudejar baptismal fonts of fifteenth-century Toledo.
Spradley, Rachel Hay.

Signs of faith: Understanding the mudejar baptismal fonts of fifteenth-century Toledo. - 132 p.

Source: Masters Abstracts International, Volume: 54-04.

Thesis (M.A.)--Southern Methodist University, 2015.

This thesis examines the artistic and cultural genesis of a group of five ceramic baptismal fonts produced in fifteenth-century Toledo. Generally considered to be representative of many more that would have been produced in the period, the rarity of these objects is likely due to a 1671 decree issued at the Synod of Malaga requiring the destruction of ceramic fonts throughout Spain and their replacement with fonts of stone. Consistently classified in scholarship as mudejar---broadly defined as Islamic style arts produced in a non-Islamic context---the fonts exhibit a variety of motifs and formal qualities tied to Islamic artistic traditions of the Iberian Peninsula in addition to traditional Christian symbols. These include floral and vegetal ornament, fretwork patterns, calligraphic inscription, and, notably, open-palmed hands and eyes, both well-known talismanic symbols in the Islamic world. While I do not dispute the designation of these objects as mudejar, this thesis will show that the application of the term has discouraged further investigation into the fonts and their use of motifs whose presence may offer deeper insight into this multi-faceted tradition.

ISBN: 9781321713688Subjects--Topical Terms:

2122701
Art history.

Signs of faith: Understanding the mudejar baptismal fonts of fifteenth-century Toledo.
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500 $a Adviser: Pamela A. Patton.
502 $a Thesis (M.A.)--Southern Methodist University, 2015.
520 $a This thesis examines the artistic and cultural genesis of a group of five ceramic baptismal fonts produced in fifteenth-century Toledo. Generally considered to be representative of many more that would have been produced in the period, the rarity of these objects is likely due to a 1671 decree issued at the Synod of Malaga requiring the destruction of ceramic fonts throughout Spain and their replacement with fonts of stone. Consistently classified in scholarship as mudejar---broadly defined as Islamic style arts produced in a non-Islamic context---the fonts exhibit a variety of motifs and formal qualities tied to Islamic artistic traditions of the Iberian Peninsula in addition to traditional Christian symbols. These include floral and vegetal ornament, fretwork patterns, calligraphic inscription, and, notably, open-palmed hands and eyes, both well-known talismanic symbols in the Islamic world. While I do not dispute the designation of these objects as mudejar, this thesis will show that the application of the term has discouraged further investigation into the fonts and their use of motifs whose presence may offer deeper insight into this multi-faceted tradition.
520 $a At stake in this thesis is an interpretation of the significance of the use of motifs tied to Islamic art and culture within a Christian liturgical context, the implications of these objects for our understanding of the mudejar artistic tradition, and the eventual change in reception of these objects indicated by the 1671 decree. I argue that the fonts' material and stylistic connections to Islamic artistic traditions evidence the development of shared modes of expression among medieval Iberia's religious populations. I propose that the motifs noted, including the open-palmed hands and eyes, had by this time shed their explicit Islamic ties, crossed religious borders, and become effectively incorporated into the visual culture of Toledo's Christian community. I therefore conclude that the understanding of particular elements of the fonts as "Islamic" is the result of later attitudes that have affected the interpretation of these objects. My analysis situates the fonts within a broader trend in scholarship on the mudejar arts that challenges a binary notion of Islamic and Christian visual cultures in medieval Spain.
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