By Diliana N. Angelova
Diliana Angelova argues that from the time of Augustus via early Byzantium, a discourse of “sacred founders”—articulated in paintings, literature, imperial honors, and the equipped environment—helped legitimize the authority of the emperor and his relations. The discourse coalesced round the vital thought, sure to a fable of origins, that imperial women and men have been sacred founders of the land, reflect photos of the empire’s divine founders. while Constantine and his bold mom Helena validated a brand new capital for the Roman Empire, they initiated the Christian transformation of this discourse by means of brilliantly reformulating the founding fantasy. over the years, this alteration empowered imperial girls, bolstered the cult of the Virgin Mary, fueled contests among church and country, and provoked an arresting synthesis of imperial and Christian paintings. Sacred Founders provides a daring interpretive framework that reveals deep continuities among the traditional and medieval worlds, recovers a forgotten transformation in lady imperial strength, and provides a remarkable reinterpretation of early Christian paintings.
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Additional resources for Sacred Founders: Women, Men, and Gods in the Discourse of Imperial Founding, Rome Through Early Byzantium
Chapter 2 Imagining China: The Birth and Consolidation of British Visions of China China, in many guises, has fascinated and beguiled the West since the Roman Empire. Until the sixteenth century it was known predominantly through its material goods, embellished with apocryphal and dubious tall tales of medieval travellers and merchants. ’1 This chapter provides an introduction to the nascence, development and consolidation of such images, with a particular focus on the reception of the visual culture of China in Britain.
Tokens of Exchange: The Problem of Translation in Global Circulations (Durham: Duke University Press, 1999), 199–200. 78 Hevia, Looting Beijing: 1860, 1900, 201. 79 Craig Clunas, The Empire of Things: the engagement with the Orient, in Malcolm Baker and Brenda Richardson (eds), A Grand Design: the Art of the Victoria and Albert Museum (New York: Harry N. , 1997), 235, 259. 81 As contemporary Western scholars sought the essence of China, the display of its visual culture was far from politically neutral.
Smedley was not an objective observer: her books and articles for The Manchester Guardian (1938–1941) read as propaganda for the CCP. 118 Her written portraits of communist leaders often veer into hagiography but such images presumably resonated with a sympathetic British audience. But would the support for the Chinese people have been so forthcoming had the Japanese resistance not coincided with the wider fight against fascism? 119 The People’s Republic of China, 1949–1965 Following the allied victory in the Second World War, the commencement of the Cold War led to a rupture between East and West.