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

这个项目建议对公元700-900年间的盎格鲁-撒克逊雕塑进行仔细的研究，特别是对人类形态的非叙事性、象征性的表现。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，以及当代围绕图标和破坏偶像的争论。在公元7世纪盎格鲁-撒克逊人皈依之前的英格兰，人物形象很少见。早期手稿艺术和文字描述提供了一种理解盎格鲁-撒克逊人体验和使用人物艺术的方法。石雕提供了另一个当代来源，大量幸存下来，并展示了罗马和岛国风格的雕刻技巧。在8世纪的拜占庭，打破传统的辩论使人物艺术的使用在意大利和法国成为激烈辩论的话题。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。像布里登-山上(莱斯特郡)的图标一样的表现形式，展示了一个戴着面纱的圣母形象给予通常为基督标志图像保留的祝福，或马沙姆柱上的数字拱廊，可能揭示更多关于中世纪早期英格兰的图像感知和崇拜，以及可能关于图像在转换过程中的使用。该项目旨在评估“罗马”艺术和肖像学的影响，以及盎格鲁-撒克逊艺术家在多大程度上依赖于弗朗西娅、罗马和拜占庭的古典和当代模型。我们不能确定涂漆的木板是否真的像比德在他的《基督教传道史》中所说的那样，被用来支持盎格鲁-撒克逊人的转变。然而，我们可以调查与罗马建立的牢固联系是否影响了英国人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是否与盎格鲁-撒克逊时期的英格兰有某种对应，以及图标状雕塑是否以某种方式反映了对类似物品的崇拜。在8世纪期间，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，在那里，对图像的敌意最终导致了对图像的颠覆。因此，图像在崇拜中的作用在法兰克宫廷和教皇宫廷中进行了辩论，并在792年向当时位于约克的阿尔昆寻求建议。这个项目将研究破坏偶像的争论对盎格鲁-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语文本的分析，以及它们对英国的传播。为了了解盎格鲁-撒克逊英格兰、弗朗西娅和意大利之间的艺术网络，还将调查弗朗西娅在浪漫主义传播中所扮演的角色，以及它对盎格鲁-撒克逊人对图像的感知的影响。对盎格鲁-撒克逊时期英国、法国和意大利制作的雕塑进行比较，将是理解中世纪早期雕塑艺术制作方法的基础。在这里，人类学理论将有助于辨别罗马艺术品在中世纪早期欧洲作为活跃代理人的作用。

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.