Tag Archives: Dictionary

The Practice of Barding Horses in the History of Armouring

In history, horses were also provided with protection against enemies’ weapons. “By the [mid-fifteenth century], armorers had devised a near-complete set of armour to protect the steed in battle. Together these formed a bard”. Although it was mostly developed in the European Middle Ages, such a body armour for war horses had been already well known in antiquity. It was either made of the hardened leather cover, or of  chainmail and riveted metal plates, or larger steel plates composed of various parts.

Among the most important elements of the barding is the chanfron, designed to protect the horse’s head from the ears to the nostrils, sometimes including hinged cheek plates. “Flanges often covered the steed’s eyes. [There were also] hinged extensions to cover the [horse’s] jowls” (“Barding” 2021). Other essential elements included the criniere (crinet), a set of segmented plates protecting the horse’s neck, the peytral protecting chest, and finally the croupiere (crupper) protecting the horse’s hind quarters with a part called the tail-guard and sides around to the saddle. The legs were not covered with any armour for the horse’s easy movement.

The barding equipment equally includes the so-called “flanchards, used to protect the flank, attached to the side of the saddle, then around the front or rear of the horse and back to the saddle again. These appear to have been metal plates riveted to leather or in some cases cuir bouilli armour (which is boiled or treated leather sealed with beeswax or the like). They sometimes had openings designed to allow the rider to use spurs” (“Barding” 2021).

A set of armour with a criniere (protecting neck), peytral (protecting chest) and the croupiere (protecting hind quarters). Kunsthistorisches Museum, Vienna, Austria. Photo by David Monniaux (2005). CC BY-SA 3.0. Colours intensified. Photo source: “Barding” (2021). In: Wikipedia. The Free Encyclopedia.

It happened that the barding was enriched with decorative features, typical of chanfrons, such as “a rondel with a small spike [between the horse’s eyes or horns an other symbolic objects surmounting the steed’s heads]. Barding was often used in conjunction with cloth covers known as caparisons. These [colourful and richly decorated textile covers sometimes shielded] the entire horse from nose to tail and extended to the ground” (“Barding” 2021).

Featured image: This fifteenth-century depiction of a tournament shows fully caparisoned horses. René d’Anjou Livre des tournois France Provence XVe siècle. Image attributed to Barthélémy d’Eyck (1460). Public domain. Colours intensified. Photo source: “Barding” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Barding” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3bcux8q>. [Accessed on 18th February, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 451. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Zoomorphic Representations in Art and Architecture

“The word zoomorphism derives from the Greek […] (zōon), meaning ‘animal’, and […] (morphē), meaning ‘shape’ or ‘form’. [Zoomorphism] could describe art that imagines humans as non-human animals” In visual arts, it is generally a depiction of deities, natural phenomena, abstract concepts and other objects in the form of real or fantastic animals, or yet animal hybrids.

Featured image: Bird-shaped oil lamp, dated late twelfth-early thirteenth century, made of bronze; cast, engraved, inlaid with silver and copper, H: 8 in. L: 9 3/8 in. W: 11 13/16 in: “Bird-shaped oil lamp”. Metropolitan Museum of Art. Retrieved 2019-11-03. This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy. CC0. Photo and caption source: “Zoomorphism” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Zoomorphism” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3roWFMn>. [Accessed on 6th March, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 455. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Yamato-e in the National School of Japanese Paintings

The national school of painting in Japan that was founded in Yamato (the former name of Japan and the district with the capital of Nara). It is characterized by using purely Japanese themes drawn from national poetry and novels, with or without accompanying text, completely devoid of the influence of Chinese culture. The paintings “show the beauty of nature, with famous places meisho-e (…) or the four seasons shiki-e (…). Characteristic features of Yamato-e include many small figures and careful depictions of details of buildings and other objects, the selection of only some elements of a scene to be fully depicted, the rest either being ignored or covered by a ‘floating cloud’, an oblique view from above showing interiors of buildings as though through a cutaway roof, and very stylized depiction of landscape” (“Yamato-e” 2020).

Uji Bridge Screen, an example of later Yamato-e from the seventeenth century. Image by Japanischer Maler – The Yorck Project (2002) 10.000 Meisterwerke der Malerei (DVD-ROM), distributed by DIRECTMEDIA Publishing GmbH. ISBN: 3936122202. Public domain. Photo and caption source: Photo and caption source: “Yamato-e” (2020). In: Wikipedia. The Free Encyclopedia.

The pictures are often on scrolls that can be hung on a wall (…), handscrolls (…) that are read from right to left, or on a folding screen (…) or panel” (“Yamato-e” 2020). Inspired by Tang dynasty paintings, it developed during the Heian period (794-1185). Yamato-e paintings, however, “stand for a style and are not restricted to a particular period” (Ibid.)

Featured image: A scene (AZUMA YA: East Wing) of Illustrated scroll of Tale of Genji (written by MURASAKI SHIKIBU (the eleventh century). The multi-panel curtain at the center bottom of the image is a kichō. The decorated sliding door panels at the top of the image are fusuma. The scroll was made in about ca. 1130 ACE and is in the Tokugawa Museum in Nagoya, Japan. Image by Imperial court in Kyoto – Genji Monogatari Emaki published by the Tokugawa Museum in Nagoya, Japan, 1937. Public domain. Colours intensified. Photo and caption source: “Yamato-e” (2020). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

Yamato-e” (2020). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/30ln81D>. [Accessed on 6th March, 2021].

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 446. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.

Xylography in Asian Wood Engravings and Medieval Block Books

The definition of xylography means the oldest known form of woodcut and engraving in wood, invented in China in the first century AD. Although it originated in China, “the practice of woodcut has spread across the world from Europe to other parts of Asia, and to Latin America. [In woodcut technique], the block is cut along the wood grain, [whereas in the case of wood engraving], the block is cut in the [end-grain].” (“Woodcut” 2021).

A single-sheet of woodcut of the famous Four Horsemen c. 1496–1498 by Albrecht Dürer, depicting the Four Horsemen of the Apocalypse. Albrecht Dürer – National Gallery of Art. Public domain. Photo and caption source: “Woodcut” (2021). In: Wikipedia. The Free Encyclopedia.

The technique of “[woodcut] is a relief printing […] in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. […] The surface is covered with ink, [also in multiple colours], by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas” (“Woodcut” 2021).

The art of carving the woodcut is generally referred to as xylography. Although the latter term is rarely used in Europe for woodcut single images, it is mostly related to the so-called block books, “which are small books containing text and images in the same block” (“Woodcut” 2021). Such block books are also called xylographica; they were uniquely printed in Europe and became popular in the second half of the fifteenth century. They are short books of up to fifty leaves and of nearly always religious content. At the same time, a single-sheet of woodcut is rather called simply a woodcut, which is presented as a single image or print, as opposed to a book illustration included in  xylographica.

Featured image: Fragment of the woodcut page from the Apocalypse. It is a block book printed in Europe between 1450 & 1500. The image come from a late fifteenth century compilation blockbook [Cod Pal. Germ 34] of which the ‘Apokalypse’ (4th ed.) forms one section. The printed text is in Latin but handwritten German translation sheets were inserted between the blockbook pages. The book is hosted by the University of Heidelberg. Public domain. Image modified. Photo and caption source: “Block book” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

Bernard T. (2013). “Xylography. Art Terms — X”Trylit”. In: Teresa Bernard Oil Paintings. Available at <https://bit.ly/3fvYwvq>. [Accessed 27th May, 2021].

“Woodcut” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/34rVLoq>. [Accessed 27th May, 2021].

“Block book” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3i1FAX3>. [Accessed 29th May, 2021].

Wimperg – a Gable (Canopy) in the Gothic Architecture

From German: Wimperg.

In the Gothic architecture, a decorative high triangular gable, placed over a portal or window. The field of the Gothic gable was decorated with a blind or openwork tracery, the edges were provided with crockets, crowned with finials, pinnacles, and, more rarely, with figurative sculpture. Gothic gables appeared mostly in the medieval sacred architecture of the thirteenth century, and they had the most decorative forms in the fifteenth century. They emphasize the upward movement of the Gothic style. A Gothic gable were also a frequent decorative motif in late Gothic woodcarving and goldsmithing.

Featured image: The cathedral in Amiens showing three portals with wimperg decorated with pinnacles and crockets. Photo by Thuresson (2006). CC BY-SA 2.0. Image cropped. Photo source: “Gable” (2021). In: Wikipedia. The Free Encyclopedia.

BIBLIOGRAPHY:

“Gable” (2021). In: Wikipedia. The Free Encyclopedia. Available at <https://bit.ly/3sMsFdE>. [Accessed 5th March, 2021].

Koch W. (2009) Style w architekturze. Arcydzieła budownictwa europejskiego od antyku po czasy współczesne. [Baustilkunde], pp. 491, 497. Baraniewski W., Kunkel R., Omilanowska M., Sito J., Zięba A., Żak K. trans. Warszawa: Świat Książki.

PWN (2007). Słownik terminologiczny sztuk pięknych, p. 440. Kubalska-Sulkiewicz K., Bielska-Łach M., Manteuffel-Szarota A. eds. Wydanie piąte. Warszawa: Wydawnictwo Naukowe PWN.