From text to texture: Approaching early-modern continuities of medieval textual tradition through the manuscripts of Esther Inglis (1571-1624).

在文字和图像关系的历史上，早期现代英国的宗教改革提供了一个特别重要的时刻，使文字与图标分离。宗教改革论战强调对圣经这个朴实无华的经文的信仰，认为它是宗教理解的基本载体。在16世纪的过程中，改革者警告说，崇拜偶像崇拜第二诫中禁止的“雕刻的形象”；形象被摧毁，教堂的墙壁被粉刷，叙事彩色玻璃被取代，以屈从于对没有修饰的文本的新的强调。然而，这些态度与我们在中世纪晚期手稿文化中发现的文字和图像的复杂互动形成了鲜明对比。15世纪印刷生产的增加开始了破坏这种手稿文化稳定的过程，同时早期新教教义在整个欧洲传播。有趣的是，一种将文本分离为可移动的字体，并在物理上将该文本与可能伴随它的任何雕刻或木刻插图分开的印刷技术，应该成为日益强调朴素文本而不是装饰图像的宗教观点的载体，这似乎是有趣的。这个项目将考虑改革后对文字而不是图像的关注如何与早期现代文本生产对话，以及这如何暗示手稿文化的未来，这种手稿文化植根于中世纪晚期天主教基于图像的信仰。除了印刷的兴起之外，经书传统的持久性一直是大卫·麦基特里克、朱莉娅·博菲、彼得·比尔和最近的阿迪提·纳夫德等人重要研究的焦点。然而，很少有这样的研究承认传统的复杂性和中世纪手稿遗产在Esther Inglis(1571-1624)的手稿中发挥着作用，他的工作将形成我博士研究的中心。英格丽斯是法国移民S的女儿，是一位著名的苏格兰胡格诺书法家，也是她有生之年为数不多的职业女书法家之一。今天，至少有58本英格利斯的手稿幸存下来，其中许多手稿是作为礼物书赠送给新教接受者的，希望得到赞助。在印刷文字迅速成为常态的时代，这些礼品书汇集了令人惊讶的书法文字，结合了象征性的绘画、对印刷文字的模仿和彩绘照明，所有这些都是英格利斯亲手制作的。英格丽斯在她的一生中受到高度赞扬；詹姆斯六世和我，英格丽斯和她的丈夫都与她的宫廷有关联，认为她是“现实世界中最精致的作家，她的技巧是独一无二的。”近年来，英格丽斯受到乔治亚娜·齐格勒、苏珊·弗莱和海伦·史密斯的学术关注，同样也将英格丽斯描述为一位早期现代女性艺术家，几乎没有其他可与之相比的东西。然而，以这种方式展示英格丽斯，忽略了她的手稿所处的多重文本和艺术网络。英格丽斯的作品是特别的，但由于她的结合，以及最重要的是，她对剧本、版画、绘画、照明和纺织工艺等个人传统的颠覆。我的博士项目将使用英格利斯的作品作为材料镜头，通过它来接近这些中世纪晚期手稿和艺术惯例的连续性。

In the history of the relationship between word and image, the Reformation of early-modern Britain offers a particularly important moment in its separation of text from icon. Reformation polemic emphasises a belief in the Word, the unadorned Biblical text, as the fundamental vehicle to religious understanding. Over the course of the sixteenth century, reformers warn of the idolatry of venerating the "graven image" prohibited in the Second Commandment; images are destroyed, church walls are whitewashed, and narrative stained glass replaced, in subservience to a new emphasis on the unembellished text. These attitudes, however, exist in stark contrast to the complex interaction of word and image which we find in late-medieval manuscript culture. The increase of print production in the fifteenth century begins the process of destabilising this manuscript culture, concurrent with the spread of early Protestant doctrine across Europe. It seems intriguingly fitting that a mechanics of print which isolates a text into moveable type, and physically separates this text from any engraved or woodcut illustration which might accompany it, should become the vehicle for a religious outlook which increasingly emphasises the unadorned text over the decorative image. This project will consider how a Reformed focus on word over image converses with early-modern textual production, and how this implicates the future of a manuscript culture which has roots in the image-based devotion of late-medieval Catholicism.The endurance of a scribal tradition beyond the rise of print has been the focus of important studies by David McKitterick, Julia Boffey, Peter Beal and, most recently, Aditi Nafde, among others. Rarely, if at all, however, do such studies acknowledge the complexities of tradition and medieval scribal heritage at play in the manuscripts of Esther Inglis (1571-1624), whose work will form the epicentre of my doctoral study. The daughter of French émigrés, Inglis was a celebrated Scottish Huguenot calligrapher, and one of very few professional female scribes within her lifetime. At least fifty-eight of Inglis' manuscripts survive today, many of which were presented as gift-books to Protestant recipients in hope of patronage. In an age where the printed text is fast becoming the norm, these gift-books bring together an astonishing range of calligraphic scripts, combined with emblematic drawings, imitation of the printed word, and painted illumination, all the product of Inglis' own hand. Inglis was highly praised during her own lifetime; James VI and I, with whose court Inglis and her husband were both associated, deemed her "the most exquisite writer in the realme, her skills uniquely unparalleled. The academic attention which Inglis has received in recent years from Georgiana Ziegler, Susan Frye and Helen Smith has likewise presented Inglis as an early-modern female artist with whom few other comparisons can be drawn. Showcasing Inglis in this way, however, overlooks the multiple textual and artistic networks in which her manuscripts are situated. Inglis' work is exceptional, but exceptional rather for her combination and, most importantly, her subversion, of the individual traditions of script, print, drawing, illumination and textile craft. My doctoral project will use Inglis' work as a material lens through which to approach the continuity of these late-medieval manuscript and artistic conventions.