Kaja Kollandsrud
University of Oslo, Museum of Cultural History, Faculty Member
- Technical Art History, Conservation, Medieval England, Medieval Polychromy, Crafts and Technology, Material culture of religion, Material Culture Studies, and 26 moreHistory Of Technology (Technology), Medieval Church History, Medieval Studies, Medieval Theology, Medieval Philosophy, Medieval Sculpture, Neuroaesthetics, Technical Art History, Art Conservation, Technical Art History, Medieval Polychromy, Polychromy, Old Norse literature and culture, Visual Culture, Thing Theory, Medieval Scandinavia, Robert Grosseteste, Museum of Cultural History Oslo, Art History, Georges Didi-Huberman, Medieval Art, Tim Ingold, Classical Archaeology, Polychromy of Ancient Sculpture, Visual perception, Painting techniques, Sculptural polychromy, and Medieval Historyedit
- Associate professor, Conservation of paintings and polychrome sculptureedit
PhD thesis The central theme is the search for a visual vocabulary embedded in the polychrome expression of sculpture in Norway. This approaches the perception of the objects through the ‘medieval mind’s eye’ in its wider original... more
PhD thesis
The central theme is the search for a visual vocabulary embedded in the polychrome expression of sculpture in Norway. This approaches the perception of the objects through the ‘medieval mind’s eye’ in its wider original context. The research is based in the contemporary classification systems of colour, perceiving colour by their inherent darkness and brightness. Focus is the visual perception of matter and form in the earthly world, its role in a Christian perspective, and how this is communicated in the physical polychrome object as a path to spiritual revelation. This research is grounded in examination of period texts of a proto scientific and theological-philosophical nature, which is compared against analysis and physical observation of the original objects. See more about reconstruction of medieval painting technique here: http://www.khm.uio.no/tema/tiden/middelalder/rekonstruksjon/index.html
The central theme is the search for a visual vocabulary embedded in the polychrome expression of sculpture in Norway. This approaches the perception of the objects through the ‘medieval mind’s eye’ in its wider original context. The research is based in the contemporary classification systems of colour, perceiving colour by their inherent darkness and brightness. Focus is the visual perception of matter and form in the earthly world, its role in a Christian perspective, and how this is communicated in the physical polychrome object as a path to spiritual revelation. This research is grounded in examination of period texts of a proto scientific and theological-philosophical nature, which is compared against analysis and physical observation of the original objects. See more about reconstruction of medieval painting technique here: http://www.khm.uio.no/tema/tiden/middelalder/rekonstruksjon/index.html
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Research Interests:
A consistent line of thinking about matter, colour and form continued into the Middle Ages from the Classical period. Our present views on the Classical and medieval works of art are coloured by how they have been perceived throughout... more
A consistent line of thinking about matter, colour and form continued into the Middle Ages from the Classical period. Our present views on the Classical and medieval works of art are coloured by how they have been perceived throughout their timeline. Therefore, it is fruitful to discuss polychromy in a broader historical context. The idea for this special issue came about when researchers specializing in ancient and medieval polychromy met for the first time at the seminar Perceiving matter. Visual, material and sensual communication from Antiquity to the Middle Ages and Beyond, held at the Museum of Cultural History, 5 April 2019 under the auspices of the Polychrome Art History Research Group. Marina Prusac Lindhagen initiated the seminar and invited Kaja Kollandsrud to co-organise the event.
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Research Interests:
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New examinations1 of the Virgin from Veldre, the Virgin from Ostsinni and the crucifi x from Tretten in the collection of the Museum of Cultural History, University of Oslo (KHM)2 have expanded understanding of the changing relationship... more
New examinations1 of the Virgin from Veldre, the Virgin from Ostsinni and the crucifi x from Tretten in the collection of the Museum of Cultural History, University of Oslo (KHM)2 have expanded understanding of the changing relationship between sculptural form and polychromy (see Figs 1–5). Th e three sculptures were revealed to be reworked; they were all subjected to partial recarving and full repainting. Th e original sculptures, all thought to originate from the bishopric of Hamar, have been dated to the thirteenth century on stylistic grounds.3 Th ere are striking similarities between the polychromies of the fi gures in the group. Based on recent technical investigation of their materials and techniques, the conclusion reached is that the three sculptures were entirely repainted in the fi ft eenth century. Furthermore, the evidence suggests that the same artist may have carried out the repainting of at least the two Virgins, a surprising result as at fi rst glance they could har...
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This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH),... more
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
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By discussing the colourful expressions of polychrome wooden medieval church art in the light of the perception of the materiality of the Medieval Christian universe, a visual vocabulary emerges that can be analysed against the cultural... more
By discussing the colourful expressions of polychrome wooden medieval church art in the light of the perception of the materiality of the Medieval Christian universe, a visual vocabulary emerges that can be analysed against the cultural capital of the time. How the perspective of the field of conservation can contribute to an interdisciplinary approach to these objects is discussed. Furthermore, how knowledge of their materiality contributes to a greater understanding of the role of these works as mediators of the sacred, is seen in line with the Catholic traditions of Europe.
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The twenty-first century has witnessed a growing interest in antique and medieval polychromy. By now it is generally acknowledged that colour is an integral part of their sculpture. In the present special issue of CLARA, scholars from... more
The twenty-first century has witnessed a growing interest in antique and medieval polychromy. By now it is generally acknowledged that colour is an integral part of their sculpture. In the present special issue of CLARA, scholars from various disciplines explore different aspects of sculptural polychromy in marble, glass, stucco, wood and terracotta – from Antiquity to the Renaissance: The multisensory perception of colour, the interplay of colour and texture, the treatment of sculpted surfaces, the importance of gilding and polishes, and the challenges when reconstructing lost polychromy. Combining empirical and theoretical data, the special issue includes hitherto unpublished colour reconstructions and scientific details.
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the –Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
This collection of articles is the result of a seminar with the title Perceiving Matter: Visual, Material and Sensual Communication from Antiquity to the –Middle Ages and Beyond, held April 5th 2019 at the Museum of Cultural History (MCH), University of Oslo. The seminar was arranged by Marina Prusac-Lindhagen and Kaja Kollandsrud and established the research group ‘Polychrome Art History’ https://www.khm.uio.no/english/research/research-groups/polychrome-art-history/
Research Interests:
The paper focuses on medieval wooden sculptures in the 12th and early 13th century in Norway, with preserved original polychromy. The presentation of materials used in the construction, the painting and gilding are based on material... more
The paper focuses on medieval wooden sculptures in the 12th and early 13th century in Norway, with preserved original polychromy. The presentation of materials used in the construction, the painting and gilding are based on material analyses. Their application is discussed and compared to those produced in the period that immediately follows. Conclusions reached about the characteristics of this period allow future research to be suggested. It is clear from the evidence gained that both the making and the perception of Catholic church art in medieval Norway was firmly rooted in an established culture consistent with Christian paradigms found in the rest of medieval Europe. The analytical results from the examination of sculpture preserved in Norway are therefore relevant to a wider European context. To what extent medieval sculpture was imported or produced in Norway and by whom is an ongoing discussion. A better knowledge of the sculptural traditions of a wider geographical area will provide the context required to improve our understanding of the cultural exchanges of the medieval period.
Keywords: Polychromy, Sculpture, Materiality, Painting technology, Medieval.
Keywords: Polychromy, Sculpture, Materiality, Painting technology, Medieval.
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Selected talks were published as a special issue of Konsthistorisk tidskrift/ Journal of Art History 86, Routhledge 2017.
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This paper discusses the broad use of imitation techniques to give the impression of precious materials in Norwegian religious sacred art, with special attention to polychrome wooden objects from the thirteenth century. The question of... more
This paper discusses the broad use of imitation techniques to give the impression of precious materials in Norwegian religious sacred art, with special attention to polychrome wooden objects from the thirteenth century. The question of how fictive objects made out of wood, covered with chalk ground, metal foil and paint were accepted as key works of art in religious devotion is examined. What the objects intended to emulate and how they could compete with precious objects will be discussed. Supporting evidence is offered from the preserved sacred polychrome sculpture and panel paintings in Norway from the period.
What makes an imitation successful is discussed in terms of the factors that contribute to the intended illusion. This is argued in relation to the attitudes towards display of such objects at the time they were installed within the church, which takes them out of the modern constraining concept of art and material value.
What makes an imitation successful is discussed in terms of the factors that contribute to the intended illusion. This is argued in relation to the attitudes towards display of such objects at the time they were installed within the church, which takes them out of the modern constraining concept of art and material value.