Articles by Kate Dimitrova
El Trecento en obres: Art de Catalunya i Art d’Europa al segle XIV ed. by Rosa Alcoy , 2009
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Art sacré 27 (2009), 89–95.
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Viator 38, no. 2 (Fall, 2007)
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Book Reviews by Kate Dimitrova
Peregrinations: Journal of Medieval Art and Architecture, 2019
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Through the pages of Heidi Gearhart’s book, Theophilus and the Theory and Practice of Medieval Ar... more Through the pages of Heidi Gearhart’s book, Theophilus and the Theory and Practice of Medieval Art, readers are introduced to the surviving medieval copies of Theophilus’s text, On Diverse Arts, and are provided the opportunity to reframe the academy’s classification of this celebrated treatise. ... See the full review.
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Southeastern College Art Conference Review, XVI, no. 2 2012): 205–207
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Medievalia et Humanistica, n.s. no. 36 (2010): 133–137
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caa.reviews (November 3, 2010)
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Caa.reviews (October 22, 2009)
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Studies in Iconography 27 (2006): 197–200
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Books by Kate Dimitrova
This volume explores the ways in which textiles were used or invoked in the construction and disp... more This volume explores the ways in which textiles were used or invoked in the construction and display of power in the Middle Ages.
During the Middle Ages, textiles played a particularly prominent role in the communication of wealth and authority by mediating the body politic and defining spaces of political, religious, and social power. The intrinsic material value of textiles—which could be woven out of silk, enriched with silver and gold threads, and garnished with precious stones—complemented an elaborate visual language that conveyed ideological messages. From the ornamented sphere of ecclesiastical dress and the celebrations of feast days to an aristocrat’s various rites of passage (such as birth, marriage, coronation, and death), textiles functioned as propaganda. Rulers across the European, Byzantine and Islamic worlds expressed their dynastic claims, military prowess, political aspirations and accomplishments by commissioning, displaying, wearing, and offering textiles.
Because textiles are portable, wearable and displayable their performative qualities result in multivalent meanings that medieval patrons exploited. In essence, the meaning of textiles can never truly be fixed. Textiles inherently represent a confluence of messages because they operate within multiple systems of signs—costume, liturgical display, ceremonies of state, funerary ritual, memorial display and personal or corporate identity to name a few. While contemporary historians might label this multivalency as Lacanian, in fact, perhaps more than any other art form, textiles amplify and even reveal the medieval appreciation for the inherent flexibility of signs.
This volume explores the ways in which textiles were used or invoked in the construction and display of power. The essays include material culture studies that explore textile display, archival investigations that reveal patterns of donation, technical studies concerning design and production processes, as well as art historical studies concerning the representation of textiles in other media. All together, these essays offer insight into how textiles were interwoven with notions of identity, status, and power during the Middle Ages.
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During the Middle Ages, textiles played a particularly prominent role in the communication of wea... more During the Middle Ages, textiles played a particularly prominent role in the communication of wealth and authority by mediating the body politic and defining spaces of political, religious, and social power. The intrinsic material value of textiles—which could be woven out of silk, enriched with silver and gold threads, and garnished with precious stones—complemented an elaborate visual language that conveyed ideological messages. From the ornamented sphere of ecclesiastical dress and the celebrations of feast days to an aristocrat’s various rites of passage (such as birth, marriage, coronation, and death), textiles functioned as propaganda. Rulers across the European, Byzantine and Islamic worlds expressed their dynastic claims, military prowess, political aspirations and accomplishments by commissioning, displaying, wearing, and offering textiles.
Because textiles are portable, wearable and displayable their performative qualities result in multivalent meanings that medieval patrons exploited. In essence, the meaning of textiles can never truly be fixed. Textiles inherently represent a confluence of messages because they operate within multiple systems of signs—costume, liturgical display, ceremonies of state, funerary ritual, memorial display and personal or corporate identity to name a few. While contemporary historians might label this multivalency as Lacanian, in fact, perhaps more than any other art form, textiles amplify and even reveal the medieval appreciation for the inherent flexibility of signs.
This volume explores the ways in which textiles were used or invoked in the construction and display of power. The essays include material culture studies that explore textile display, archival investigations that reveal patterns of donation, technical studies concerning design and production processes, as well as art historical studies concerning the representation of textiles in other media. All together, these essays offer insight into how textiles were interwoven with notions of identity, status, and power during the Middle Ages.
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Papers by Kate Dimitrova
Peregrinations: Journal of Medieval Art and Architecture, 2019
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caa.reviews, May 21, 2018
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Viator, 2007
... 1170) to a peasant (ca. 1520). Terms to describe landscape, such as pastoral or bucolic, ... more ... 1170) to a peasant (ca. 1520). Terms to describe landscape, such as pastoral or bucolic, are post-medieval concepts and therefore the word rustic will be employed instead. For the Latin term rusticus and its usage beyond the Middle Ages, see the Moralejo Álvarez article ...
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caa.reviews, 2010
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Articles by Kate Dimitrova
Book Reviews by Kate Dimitrova
Books by Kate Dimitrova
During the Middle Ages, textiles played a particularly prominent role in the communication of wealth and authority by mediating the body politic and defining spaces of political, religious, and social power. The intrinsic material value of textiles—which could be woven out of silk, enriched with silver and gold threads, and garnished with precious stones—complemented an elaborate visual language that conveyed ideological messages. From the ornamented sphere of ecclesiastical dress and the celebrations of feast days to an aristocrat’s various rites of passage (such as birth, marriage, coronation, and death), textiles functioned as propaganda. Rulers across the European, Byzantine and Islamic worlds expressed their dynastic claims, military prowess, political aspirations and accomplishments by commissioning, displaying, wearing, and offering textiles.
Because textiles are portable, wearable and displayable their performative qualities result in multivalent meanings that medieval patrons exploited. In essence, the meaning of textiles can never truly be fixed. Textiles inherently represent a confluence of messages because they operate within multiple systems of signs—costume, liturgical display, ceremonies of state, funerary ritual, memorial display and personal or corporate identity to name a few. While contemporary historians might label this multivalency as Lacanian, in fact, perhaps more than any other art form, textiles amplify and even reveal the medieval appreciation for the inherent flexibility of signs.
This volume explores the ways in which textiles were used or invoked in the construction and display of power. The essays include material culture studies that explore textile display, archival investigations that reveal patterns of donation, technical studies concerning design and production processes, as well as art historical studies concerning the representation of textiles in other media. All together, these essays offer insight into how textiles were interwoven with notions of identity, status, and power during the Middle Ages.
Because textiles are portable, wearable and displayable their performative qualities result in multivalent meanings that medieval patrons exploited. In essence, the meaning of textiles can never truly be fixed. Textiles inherently represent a confluence of messages because they operate within multiple systems of signs—costume, liturgical display, ceremonies of state, funerary ritual, memorial display and personal or corporate identity to name a few. While contemporary historians might label this multivalency as Lacanian, in fact, perhaps more than any other art form, textiles amplify and even reveal the medieval appreciation for the inherent flexibility of signs.
This volume explores the ways in which textiles were used or invoked in the construction and display of power. The essays include material culture studies that explore textile display, archival investigations that reveal patterns of donation, technical studies concerning design and production processes, as well as art historical studies concerning the representation of textiles in other media. All together, these essays offer insight into how textiles were interwoven with notions of identity, status, and power during the Middle Ages.
Papers by Kate Dimitrova
During the Middle Ages, textiles played a particularly prominent role in the communication of wealth and authority by mediating the body politic and defining spaces of political, religious, and social power. The intrinsic material value of textiles—which could be woven out of silk, enriched with silver and gold threads, and garnished with precious stones—complemented an elaborate visual language that conveyed ideological messages. From the ornamented sphere of ecclesiastical dress and the celebrations of feast days to an aristocrat’s various rites of passage (such as birth, marriage, coronation, and death), textiles functioned as propaganda. Rulers across the European, Byzantine and Islamic worlds expressed their dynastic claims, military prowess, political aspirations and accomplishments by commissioning, displaying, wearing, and offering textiles.
Because textiles are portable, wearable and displayable their performative qualities result in multivalent meanings that medieval patrons exploited. In essence, the meaning of textiles can never truly be fixed. Textiles inherently represent a confluence of messages because they operate within multiple systems of signs—costume, liturgical display, ceremonies of state, funerary ritual, memorial display and personal or corporate identity to name a few. While contemporary historians might label this multivalency as Lacanian, in fact, perhaps more than any other art form, textiles amplify and even reveal the medieval appreciation for the inherent flexibility of signs.
This volume explores the ways in which textiles were used or invoked in the construction and display of power. The essays include material culture studies that explore textile display, archival investigations that reveal patterns of donation, technical studies concerning design and production processes, as well as art historical studies concerning the representation of textiles in other media. All together, these essays offer insight into how textiles were interwoven with notions of identity, status, and power during the Middle Ages.
Because textiles are portable, wearable and displayable their performative qualities result in multivalent meanings that medieval patrons exploited. In essence, the meaning of textiles can never truly be fixed. Textiles inherently represent a confluence of messages because they operate within multiple systems of signs—costume, liturgical display, ceremonies of state, funerary ritual, memorial display and personal or corporate identity to name a few. While contemporary historians might label this multivalency as Lacanian, in fact, perhaps more than any other art form, textiles amplify and even reveal the medieval appreciation for the inherent flexibility of signs.
This volume explores the ways in which textiles were used or invoked in the construction and display of power. The essays include material culture studies that explore textile display, archival investigations that reveal patterns of donation, technical studies concerning design and production processes, as well as art historical studies concerning the representation of textiles in other media. All together, these essays offer insight into how textiles were interwoven with notions of identity, status, and power during the Middle Ages.