IMC 2020: Sessions

Session 733: Illuminating Borders, III: Commentary Frameworks

Tuesday 7 July 2020, 14.15-15.45

Organiser:Andrea Worm, Institut für Kunstgeschichte, Karl-Franzens-Universität Graz
Moderator/Chair:Hanno Wijsman, Institut de Recherche et d'Histoire des Textes (IRHT), Centre National de la Recherche Scientifique (CNRS), Paris
Paper 733-aReform and Revolution on the Margins of the Bibles of King Wenceslas IV and the Taborite Leader Filip of Padeřov
(Language: English)
Maria Theisen, Institut für Mittelalterforschung, Österreichische Akademie der Wissenschaften, Wien
Index terms: Art History - General, Manuscripts and Palaeography
Paper 733-bFraming Genealogy: The Sunthaim Tables in Klosterneuburg and their Context
(Language: English)
Michael Richter-Grall, Institut für Kunstgeschichte, Karl-Franzens-Universität Graz
Index terms: Art History - General, Manuscripts and Palaeography
Paper 733-cFraming the Spinola Hours
(Language: English)
Lynn Jacobs, J. William Fulbright College of Arts & Sciences University of Arkansas
Index terms: Art History - General, Manuscripts and Palaeography
Abstract

The third session will examine different characteristics of the border in book illumination discussing both design and terminology. While the term ‘border’ implicates at least two sides separated from each other, borders in book illumination are often treated as a mediator abolishing inside and outside or as an enhancement to a page’s core area. Borders can function as means to connect the reader/viewer to the image as it is also a place of possible or denied transgression. Not seldomly, the border opens a third space in between the inner and the outer, the here and the beyond. This sessions will complement the first two in presenting a set of three case studies which will analyse specific objects and the way borders are used in specific manuscripts such as the Wenzeslaus Bible, the Spinola Hours (Jacobs) and the Sunthaym Tables in Klosterneuburg (Richter-Grall), which, last but not least, will bring up questions of the materiality of specific objects, and their relationship with an – often quite specific audience.