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

这个项目调查了形象、身体和邪教从东地中海到威尼斯的移动，通过圣赫勒拿、圣露西和圣玛丽娜的流离失所遗迹进行了探索。它使早期现代时期威尼斯、君士坦丁堡、黎巴嫩和西西里之间有据可查的艺术历史联系复杂化，并为威尼斯男性占主导地位的流离失所圣徒中被忽视的女性叙事提供了新的线索。通过考虑这些圣人在16世纪威尼斯视觉文化中的象征作用与他们移民路线上的其他地方相比，我将展示威尼斯人采取了不同的方法来夺取来自遥远地方的文化财产，并将其在视觉上和意识形态上编织到他们自己的当地历史中。这个项目调查了形象、身体和邪教从东地中海到威尼斯的移动，通过圣赫勒拿、圣露西和圣玛丽娜的流离失所遗迹进行了探索。它使早期现代时期威尼斯、君士坦丁堡、黎巴嫩和西西里之间有据可查的艺术历史联系复杂化，并为威尼斯男性移民圣徒中被忽视的女性叙事提供了新的线索。通过将这些圣人在16世纪威尼斯的视觉文化中的象征作用与他们迁徙路线上的其他地方进行比较，我的目的是展示威尼斯人采取的不同方法来夺取来自遥远地方的文化财产。

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.