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

在文字与图像的关系史上，近代早期英国宗教改革是文本与图像分离的重要时期。宗教改革论战强调对圣经的信仰，即对朴素的圣经文本的信仰，是理解宗教的基本工具。在十六世纪的过程中，改革者警告崇拜第二诫中禁止的“雕刻图像”的偶像崇拜;图像被摧毁，教堂墙壁被粉刷，叙事彩色玻璃被取代，以服从对未经修饰的文本的新强调。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鲜明对比。世纪印刷品的增加开始了破坏这种手稿文化的过程，与早期新教教义在欧洲的传播同时进行。一种印刷技术将文本分离成活字，并将文本与可能伴随它的任何雕刻或木刻插图物理分离，这似乎是非常合适的，它应该成为一种宗教观的载体，这种宗教观越来越强调未经装饰的文本而不是装饰性图像。这个项目将考虑改革宗对文字胜过图像的关注如何与早期现代文本生产进行对话，以及这如何暗示着手稿文化的未来，这种文化植根于中世纪晚期天主教基于图像的奉献精神。在印刷术兴起之后，抄写传统的持久性一直是大卫·麦基特里克（David McKitterick）、朱莉娅·博菲（Julia Boffey）、彼得·比尔（Peter Beal）以及最近的阿迪蒂·纳夫德（Aditi Nafde）等人重要研究的焦点。然而，这类研究很少（如果有的话）承认埃丝特·英格利斯（Esther Inglis，1571-1624）手稿中传统和中世纪抄写遗产的复杂性，她的作品将成为我博士研究的中心。英格利斯是法国移民的女儿，是苏格兰著名的胡格诺派书法家，也是她一生中为数不多的职业女性抄写员之一。至少有58英格利斯的手稿生存今天，其中许多是作为礼品书提出了新教收件人希望赞助。在一个印刷文字迅速成为常态的时代，这些礼品书汇集了惊人的书法脚本，结合象征性的图纸，印刷文字的模仿和绘画照明，所有的产品英格利斯自己的手。英格利斯在她的一生中受到高度赞扬;詹姆斯六世和我，英格利斯和她的丈夫都与宫廷有关，认为她是“现实中最精致的作家，她的技巧无与伦比。近年来，乔治亚娜·齐格勒、苏珊·弗莱和海伦·史密斯对英格利斯的学术关注也同样将英格利斯视为一位早期现代女性艺术家，很少有人能与她相提并论。然而，以这种方式展示英格利斯，忽略了她的手稿所处的多重文本和艺术网络。英格利斯的作品是特殊的，但特殊的，而不是她的组合，最重要的是，她的颠覆，个别传统的脚本，印刷，绘画，照明和纺织工艺。我的博士项目将使用英格利斯的工作作为一个材料透镜，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.