Recycling and reinvention in Reformation England: Medieval religious textiles in Tudor homes and families, c. 1540 - c.1603

1536年至1549年间，数百座教堂、小教堂和教堂的关闭，分散了数百年来积累的无数中世纪纺织品和其他艺术品。其中许多物品，特别是纺织品，被保存下来，作为礼物或出售给私人，置于一个完全不同的社会、文化和宗教环境中。他们进入这个改革，文艺复兴时期的英格兰，他们在都铎国内内饰的演变中的作用，以及在政治，社会和文化权威受到质疑时王朝和个人身份的表达，从未被深入研究过。此类研究的资料来源十分丰富：负责执行宗教改革法令的王室专员们编制的许多清单至今仍保存着; 16世纪后期保留和再利用的宗教纺织品和相关手工艺品的横截面也保存了下来;还有更多的东西在家庭账目中得到了证实。他们的故事有助于宗教改革研究的物质转向，这一转向使人们对都铎王朝变革的物质和物质环境产生了批判性的关注;他们提供了一个机会，与更广泛的观众探讨文化和社会，家庭和个人的突然和全面的政权更迭的后果。中世纪宗教艺术品的研究集中在赞助，制造的过程和原始的上下文和使用，而那些与都铎王朝时期有关的是局限于圣像破坏或反宗教改革的反应。这个项目将把保存下来的纺织品和其他宗教艺术品与宗教改革的更广泛的社会经验以及它所带来的意识形态斗争和文化革命联系起来。它通过将物质文化与档案记录联系起来，弥合了英国宗教艺术传播、保存和国内再利用知识的差距。它解释了都铎室内设计发展的推动力;它将这些空间的遗产解释与标志着这一时刻的信仰和价值观的挑战联系起来。更好地了解这些艺术品的命运变化，可以为策展人和观众创造一个与当代相关的主题的接触点：意识形态冲突的社会和文化影响;面对镇压时个人和社会身份的表达;该项目建立在艾玛·斯洛科姆对宗教改革的解释优先权之间的共同点上在哈德威克大厅举行的纺织品展览，以及埃克塞特历史学家詹姆斯·克拉克对都铎王朝解散的文化影响的档案研究。新台币收藏品为该项目提供了大量的证据基础：Hardwick、Coughton、Cotehele、金斯顿莱西、莫斯利老霍尔和Trelissick的纺织品，以及同一收藏品中的一些宗教板和面板绘画，以及跟踪其在家庭和家庭中的传播的家庭和个人（例如遗嘱）库存。作为HEI的合作伙伴，埃克塞特为该项目带来了创新的、数字化的跨学科研究概况，以及克拉克在档案环境方面的专业知识和遗产领域知识交流和公众参与计划的经验。该项目的中心主题与保护者和策展人的利益相关。此外，博物馆的藏品和背景也能接触到观众;事实上，通过揭示塑造这些遗产的可识别的冲动，它们为那些不太愿意调查这些遗产的观众打开了新的入口。该项目将提供一篇论文，增加对具有国际意义的独特藏品的知识和理解。它将为进一步研究其他宗教艺术形式的中世纪来世创造一个关键框架，并为它们在与不同公众的参与活动中的应用建立一个模板。

The closure of hundreds of churches, chapels and chantries between 1536 and 1549 dispersed countless medieval textiles and other artworks accrued over centuries past. Many of them, and the textiles especially, were preserved, gifted or sold into private ownership to be placed in an entirely different social, cultural and confessional environment. Their passage into this reformed, Renaissance England, their role in the evolution of Tudor domestic interiors, and the expression of dynastic and individual identities when political, social and cultural authority was contested, have never been studied in depth. The sources for such research are rich: many of the inventories compiled by the crown commissioners charged with implementing reformation statutes still survive; a cross-section of the religious textiles and associated artefacts retained and reused in the later sixteenth century remain; many more are attested in household accounts. Their story can contribute to the material turn in Reformation studies which has brought critical attention to the physical and material environment of the Tudor transformations; and they present an opportunity to explore with wider audiences the cultural and social, domestic and personal consequences of sudden and sweeping regime change.Studies of medieval religious artworks have concentrated on patronage, the process of manufacture and the original context and use, while those concerned with the Tudor period are confined either to iconoclastic destruction or the Counter-Reformation reaction. This project will connect preserved textiles and other religious artworks with the wider social experience of Reformation and the ideological battles and cultural revolution it entailed. It bridges the gap in knowledge of the dispersal, preservation and domestic reuse of English religious art by connecting the material culture with the archival record. It explains the impulses that informed the development of Tudor interior design; and it connects the heritage interpretation of these spaces with the challenges of beliefs and values which marked this moment in time. A better understanding of the changing fortunes of these artefacts can create a point-of-contact for curators and audiences in themes of contemporary relevance: the social and cultural effects of ideological conflict; the expression of personal and social identity in the face of repression; even the art and craft of recycling in the home.The project builds on the common ground between Emma Slocombe's interpretation priorities for the Reformation textiles held at Hardwick Hall, and Exeter historian James Clark's archival research on the cultural impact of the Tudor dissolutions. NT collections provide a substantial evidence-base for the project: textiles at Hardwick, Coughton, Cotehele, Kingston Lacy, Moseley Old Hall and Trelissick, together with some religious plate and panel painting in the same collections and the household and personal (e.g. probate) inventories that track their passage through homes and families. Exeter as HEI partner brings to the project a profile in innovative, digitally-enabled interdisciplinary research together with Clark's expert knowledge of the archival environment and experience of knowledge exchange and public engagement programmes in the heritage sector.The central themes of the project connect with the interests of conservators and curators. and also reach the audiences for their collections and settings; in fact, they open fresh points-of-entry for constituencies less inclined to investigate such heritage sites by revealing the recognisable impulses that shaped them.The project will deliver a dissertation that adds to the knowledge and understanding of unique collections of international significance. It will create a critical framework for further study of the medieval afterlife of other religious artforms and establish a template for their application in engagement initiatives with diverse publics