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

为了进一步研究全球艺术史，这项研究努力将锡耶纳的跨文化联系及其对城市艺术（1300-1492）的影响带到面前。我的研究范围早于“种族”、欧洲自我或优越感等概念的发展，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，这个项目的一个关键目标是，如果存在差异的话，要了解造成差异的原因。通过揭示锡耶纳艺术家如何将来自其他地方的人和物可视化，我的论文为著名艺术品和整个锡耶纳艺术传统提供了新的解释途径。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，质疑起源于西方现象的“本土”锡耶纳文艺复兴的本体论。这篇论文是按时间顺序组织的，横跨三个主题章节（赞助；肖像学；艺术合作）。第一章关注的是锡耶纳对“文化他者”的理解和方法，这反映在安布罗吉奥·洛伦泽蒂的《方济会的殉难》中，这是由方济会为锡耶纳的圣弗朗西斯科教堂委托的（约1340年）。安布罗乔的殉难将引导我们从修会的角度来考虑其他问题，修会在十三世纪和十四世纪期间在亚洲进行了许多传教活动，并与蒙古宫廷建立了外交联系。第二章考虑了15世纪埃塞俄比亚代表团对意大利的访问，与锡耶纳人在《贤士崇拜》的肖像中对非洲与会者和国王的代表有关。第三章考察了锡耶纳大教堂的大理石镶嵌地板，重点关注该项目前所未有的艺术合作，通过技术和材料来表现多样性-例如，利比亚西比尔用黑色大理石描绘，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.