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

该项目建议仔细研究约700-900年间制作的盎格鲁-撒克逊雕塑，特别是非叙事的、像圣像一样的人形代表。讨论人物艺术的书面资料将与现存的人物石雕一起进行研究，以了解盎格鲁-撒克逊人对古典罗马艺术遗产的接受，以及当代围绕偶像和偶像破坏的辩论。在七世纪皈依之前的盎格鲁-撒克逊英格兰，人物形象是罕见的。早期的手稿艺术和文字描述提供了一种理解盎格鲁-撒克逊人的经验和使用图形艺术的手段。石雕提供了另一种当代来源，大量幸存下来，显示了罗马和岛屿风格的雕刻技巧。在八世纪的拜占庭，反传统的辩论使人物艺术的使用成为意大利和法国激烈辩论的话题。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。像圣像一样的代表，如在布莱顿山上（莱斯特郡），显示了一个面纱的圣母形象，通常只用于基督标志的图像，或马沙姆柱上的人物拱门，可能揭示了中世纪早期英格兰的图像感知和崇拜，以及可能在转换过程中使用图像。该项目旨在评估“罗马”艺术和肖像学的影响，以及盎格鲁-撒克逊艺术家对弗兰西亚、罗马和拜占庭的古典和当代模型的依赖程度。我们不能确定是否真的像比德在他的《盎格鲁-撒克逊人的宗教信仰史》中所说的那样，用了彩绘木板来支持盎格鲁-撒克逊人的皈依。然而，我们可以调查与罗马建立的牢固联系是否影响了英国人观看和制作图像的方式：项目的一部分将是了解罗马制造的木板是否在盎格鲁-撒克逊英格兰有某种对应，以及像圣像一样的雕塑是否以某种方式反映了对类似物体的崇拜。在公元8世纪，围绕宗教图像的使用和崇拜的争论从拜占庭传遍了整个基督教世界，在那里，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人和教皇的法庭上进行了辩论，并于792年向当时在约克的阿尔昆寻求建议。这个项目将研究对盎格鲁-撒克逊英格兰的偶像破坏辩论的影响，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看法；这包括对法兰克语和意大利语文本及其传入英国的分析。为了了解盎格鲁-撒克逊英格兰、弗朗西亚和意大利之间的艺术网络，我们还将研究弗朗西亚在罗曼尼塔的传播中所扮演的角色，以及它对盎格鲁-撒克逊人对图像感知的影响。比较盎格鲁-撒克逊英格兰、法国和意大利的雕塑作品将是理解中世纪早期人物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的积极作用。

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.