Siena and the Wider World: Reframing the City's Art Through Global Exchanges, 1300 - 1492

这项研究有助于进一步研究全球艺术史，努力突出锡耶纳的跨文化联系及其对该市艺术(1300-1492年)的影响。我的研究范围早于围绕“种族”、欧洲人的身份或优越感的概念的发展--这些概念是随着美洲的发现和非洲奴隶贸易的建立而出现的。因此，该项目的一个重要目标是了解建立差异的理由(如果有的话)。通过揭示锡耶纳艺术家如何将起源于其他地方的人和物体可视化，我的论文允许对著名艺术品和整个锡耶纳艺术传统进行新的解读。这让我思考跨文化融合是否直接影响了锡耶纳自身艺术身份的发展，质疑起源于完全是西方现象的本土锡耶纳文艺复兴的本体论。这篇论文按时间顺序组织，跨越三个主题章节(赞助人；肖像学；艺术合作)。第一章涉及锡耶纳对“文化他者”的理解和态度，这反映在安布罗吉奥·洛伦采蒂对方济各会的殉难中，方济各会受方济各会委托在锡耶纳为他们的圣弗朗西斯科教堂(约1340)。安布罗乔的殉难将引导我们从修道会的立场来考虑变化，在13世纪和14世纪，该修道会努力在亚洲开展许多传教活动，与蒙古法院建立了外交联系。第二章讨论了15世纪埃塞俄比亚代表团对意大利的访问，与锡耶纳人在《三博士崇拜肖像》中代表非洲与会者和国王的情况有关。第三章考察了锡耶纳大教堂的大理石镶嵌地板，重点是该项目前所未有的艺术合作，通过技术和材料来表现变化-例如，用黑色大理石描绘的利比亚Sybil，以表示她的肤色。

Contributing to further the study of global art history, this research endeavours to bring to the fore Siena's cross-cultural connections and their impact upon the city's art (1300-1492). The scope of my research pre-dates the developments of notions surrounding 'race', European selfhood or superiority - concepts that emerged with the discoveries of the Americas and the establishment of the African slave trade. A crucial aim of this project is therefore geared towards understanding the grounds on which difference was established, if at all. By uncovering how Sienese artists visualised people and objects originating elsewhere, my thesis allows for new interpretative pathways both to renowned artworks and to the Sienese artistic tradition as a whole. This leads me to consider whether transcultural amalgamation directly affected the development of Siena's own artistic identity, questioning the very ontology of a 'home-grown' Sienese Renaissance that originated as an exclusively Western phenomenon. This dissertation is organized chronologically and across three thematic chapters (Patronage; Iconography; Artistic Collaboration). The first chapter is concerned with Siena's understanding of and approach to the 'cultural other' as reflected in Ambrogio Lorenzetti's Martyrdom of the Franciscans, commissioned by the Franciscans for their church of San Francesco in Siena (c. 1340). Ambrogio's Martyrdom will lead us to consider alterity from the standpoint of the Order, which during the thirteenth and fourteenth centuries endeavoured in numerous missionary activities in Asia, establishing diplomatic contact with Mongol courts. The second chapter considers fifteenth-century visits of Ethiopian delegations to Italy in connection to Sienese representations of African attendees and kings in the iconography for the Adoration of the Magi. The third chapter examines the marble inlay flooring in Siena's Cathedral, focusing on the project's unprecedented artistic collaboration to represent alterity through technique and material - e.g. the Libyan Sybil, depicted with black marble to denote her skin colour.