Figural Stone Sculpture in Anglo-Saxon England: networks, agency and cross-cultural contacts, c. 700- 900

该项目建议对大约公元 1000 年左右制作的盎格鲁-撒克逊雕塑进行仔细检查。 700-900，特别是非叙述性的、类似图标的人体形态表示。讨论人物艺术的书面资料将与现存的人物石雕一起进行审查，以了解盎格鲁-撒克逊人对古典罗马艺术遗产的接受以及围绕偶像和反传统的当代辩论。在七世纪皈依之前的盎格鲁撒克逊英格兰，人物图像很少见。早期的手稿艺术和文字描述提供了一种理解盎格鲁撒克逊人的经验和形象艺术的使用的方法。石雕提供了另一种当代来源，大量存世，展现了罗马和岛屿风格的高超雕刻技巧。八世纪拜占庭的反传统争论使人物艺术的使用成为意大利和法国激烈争论的话题。但盎格鲁撒克逊艺术家从未停止在石头上雕刻人物，创造叙事和非叙事场景。像在布里登山（莱斯特郡）那样的类似圣像的表现形式，展示了蒙着面纱的圣母像，给予通常为基督标志图像保留的祝福，或者马沙姆柱上的人物拱廊，可能会更多地揭示中世纪早期英格兰的图像感知和崇拜，也可能揭示在转换过程中图像的使用。该项目旨在评估“罗马”艺术和图像的影响，以及盎格鲁撒克逊艺术家对古典和绘画的依赖程度。来自法国、罗马和拜占庭的当代模型。我们无法确定彩绘木板是否真的像贝德在他的​​《Historia Ecclesiastica Gentis Anglorum》中所暗示的那样，被用来支持盎格鲁-撒克逊人的皈依。然而，我们可以调查与罗马建立的紧密联系是否影响了英格兰观看和制作图像的方式：该项目的一部分将是了解罗马制造的木板在盎格鲁-撒克逊英格兰是否有某种对应物，以及圣像雕塑是否在某种程度上反映了对类似物体的崇拜的作用。在八世纪的过程中，围绕宗教图像的使用和崇拜的争论从拜占庭蔓延到整个基督教世界，对图像的敌意最终导致了圣像破坏。因此，图像在崇拜中的作用在法兰克和教皇法庭上引起了争论，并于 792 年向当时居住在约克的阿尔昆寻求建议。该项目将研究反传统辩论对盎格鲁-撒克逊英格兰的影响，特别是它如何影响人物艺术和神学。将研究文本证据，以了解盎格鲁撒克逊人对这一特定主题的观点；这包括对法兰克语和意大利文本的分析及其向英国的传播。还将研究法兰西亚在罗马尼塔斯传播中所发挥的作用及其对盎格鲁撒克逊图像感知的影响，以了解盎格鲁撒克逊英格兰、法兰西亚和意大利之间的艺术网络。对盎格鲁-撒克逊英格兰、法国和意大利制作的雕塑进行比较对于理解中世纪早期人物艺术的制作方法至关重要。在这里，人类学理论将有助于辨别罗马艺术品作为中世纪早期欧洲的积极推动者的作用。

This project proposes a close examination of Anglo-Saxon sculptures made between c. 700-900, specifically non-narrative, icon-like representations of the human form. Written sources that discuss figural art will be examined alongside extant figural stone sculpture, in order to understand Anglo-Saxon reception of classical Roman artistic heritage as well as contemporary debates around icons and iconoclasm. Figural images are rare in Anglo-Saxon England before the conversion during the seventh century. Early manuscript art and textual descriptions offer one means of understanding Anglo-Saxon experience and use of figural art. Stone sculpture offers another contemporary source, surviving in large quantities and revealing great skills in carving, in both Roman and Insular style. Iconoclast debates in eighth-century Byzantium made the use of figural art a topic of intense debate in Italy and Francia. But Anglo-Saxon artists never ceased to carve figures in stone, creating both narrative and non-narrative scenes. Icon-like representations, as at Breedon-on-the-Hill (Leicestershire) which shows a veiled figure of the Virgin giving the blessing normally reserved for images of Christ Logos, or the arcades of figures on the Masham column, may reveal more about image perception and worship in early medieval England, and possibly about the use of images during the conversion process.The project aims to assess the influence of "Roman" art and iconographies, and how much Anglo-Saxon artists relied on classical and contemporary models from Francia, Rome, and Byzantium. We cannot be sure if painted wooden panels were really used to support the Anglo-Saxon conversion like Bede suggests in his Historia Ecclesiastica Gentis Anglorum. However, we can investigate if the strong connections established with Rome influenced the way images were viewed and made in England: part of the project will be to understand if wooden panels made in Rome had some sort of counterparts in Anglo-Saxon England and if icon-like sculptures somehow reflected the role in worship of similar objects.In the course of the eighth century, debates around the use and worship of religious images spread across the Christianised world from Byzantium, where the hostility towards images eventually led to iconoclasm. Consequently, the role of images in worship was debated at the Frankish and papal courts, and in 792 advice was sought from Alcuin, then based in York. This project will examine the impact of the iconoclasm debate on Anglo-Saxon England, particularly how it affected figural art and theology. Textual evidence will be studied to understand the Anglo-Saxon perspective on this particular subject matter; this includes analysis of Frankish and Italian texts and their transmission to England. The role played by Francia in the transmission of romanitas, and its influence on the Anglo-Saxon perception of images, will also be investigated in order to understand the artistic networks between Anglo-Saxon England, Francia and Italy. Comparisons between sculptures produced in Anglo-Saxon England, Francia and Italy will be fundamental in the attempt to understand the early medieval approach to the making of figural art. Here, anthropological theories will help discern the role of Roman artworks as active agents in early medieval Europe.