Heavenly Immigrants: Displaced Saints and Gender Identity in the Art of Renaissance Venice and the Eastern Mediterranean

这个项目调查了从东地中海到威尼斯的形象，身体和崇拜的运动，通过圣赫勒拿，圣露西和圣玛丽娜的流离失所的文物进行了探索。它使威尼斯、君士坦丁堡、黎巴嫩和西西里在现代早期之间有据可查的艺术史联系复杂化，并为威尼斯男性占主导地位的流离失所的圣徒人口中被忽视的女性叙事提供了新的视角。通过比较这些圣徒在16世纪威尼斯视觉文化中的象征功能，以及他们迁移路线上的其他沿着地点，我将展示威尼斯人从遥远的地方夺取文化财产并将其在视觉上和意识形态上编织成自己的地方历史的各种方法。这个项目调查了从东地中海到威尼斯的形象，身体和崇拜的运动，通过圣赫勒拿，圣露西和圣玛丽娜的流离失所的文物进行了探索。它使威尼斯、君士坦丁堡、黎巴嫩和西西里在现代早期之间有据可查的艺术史联系复杂化，并为威尼斯"移民"圣徒中被忽视的女性叙事提供了新的视角。通过考虑这些圣人在16世纪威尼斯视觉文化中的象征功能，与他们迁徙路线上的其他地方相比，我的目的是展示威尼斯人从遥远的地方夺取文化财产的不同方法。

This project investigates the movement of image, body and cult from the Eastern Mediterranean to Venice, explored through the displaced relics of Saint Helena, Saint Lucy and Saint Marina. It complicates well-documented art historical connections between Venice, Constantinople, Lebanon and Sicily in the early modern period and sheds new light on the overlooked female narratives among Venice's male-dominant population of displaced saints. By considering the symbolic function of these saints in the visual culture of sixteenth-century Venice compared with other locations along their migratory route, I will demonstrate the diverse approaches Venetians took to seize cultural property from far afield and weave it, visually and ideologically, into their own local history. This project investigates the movement of image, body and cult from the Eastern Mediterranean to Venice, explored through the displaced relics of Saint Helena, Saint Lucy and Saint Marina. It complicates well-documented art historical connections between Venice, Constantinople, Lebanon and Sicily in the early modern period and sheds new light on the overlooked female narratives among Venice's maledominant population of 'immigrant' saints. By considering the symbolic function of these saints in the visual culture of sixteenth-century Venice compared with other locations along their migratory route, I aim to demonstrate the diverse approaches Venetians took to seize cultural property from far afield.