The Land Between Two Seas: Art on the Move in the Mediterranean and the Black Sea 1300-1700 focuses on the strong riverine ties that connect the seas of the Mediterranean system (from the Western Mediterranean through the Sea of Marmara, the Black Sea and the Sea of Azov) and their hinterland. Addressing the mediating role of the Balkans between East and West all the way to Poland and Lithuania, as well as this region’s contribution to the larger Mediterranean artistic and cultural melting pot, this innovative volume explores ideas, artworks and stories that moved through these territories linking the cultures of Central Asia with those of western Europe.

"The Land Between Two Seas: Art on the Move in the Mediterranean and the Black Sea 1300-1700 focuses on the strong riverine ties that connect the seas of the Mediterranean system (from the Western Mediterranean through the Sea of Marmara, the Black Sea and the Sea of Azov) and their hinterland. Addressing the mediating role of the Balkans between East and West all the way to Poland and Lithuania, as well as this region's contribution to the larger Mediterranean artistic and cultural melting pot, this innovative volume explores ideas, artworks and stories that moved through these territories linking the cultures of Central Asia with those of western Europe"--

This volume aims to broaden and nuance knowledge about the history, art, culture, and heritage of Eastern Europe relative to Byzantium. From the thirteenth century to the decades after the fall of Constantinople in 1453, the regions of the Danube River stood at the intersection of different traditions, and the river itself has served as a marker of connection and division, as well as a site of cultural contact and negotiation. The Routledge Handbook of Byzantine Visual Culture in the Danube Regions, 1300–1600 brings to light the interconnectedness of this broad geographical area too often either studied in parts or neglected altogether, emphasizing its shared history and heritage of the regions of modern Greece, Croatia, Serbia, Bulgaria, Romania, Hungary, Slovakia, and Czechia. The aim is to challenge established perceptions of what constitutes ideological and historical facets of the past, as well as Byzantine and post-Byzantine cultural and artistic production in a region of the world that has yet to establish a firm footing on the map of art history. The 24 chapters offer a fresh and original approach to the history, literature, and art history of the Danube regions, thus being accessible to students thematically, chronologically, or by case study; each part can be read independently or explored as part of a whole.

This book investigates the interconnections between textile and architecture via a variety of case studies from the Middle Ages through the twentieth century and from diverse geographic contexts. Among the oldest human technologies, building and weaving have intertwined histories. Textile structures go back to Palaeolithic times and are still in use today and textile furnishings have long been used in interiors. Beyond its use as a material, textile has offered a captivating model and metaphor for architecture through its ability to enclose, tie together, weave, communicate, and adorn. Recently, architects have shown a renewed interest in the textile medium due to the use of computer-aided design, digital fabrication, and innovative materials and engineering. The essays edited and compiled here, work across disciplines to provide new insights into the enduring relationship between textiles and architecture. The contributors critically explore the spatial and material qualities of textiles as well as cultural and political significance of textile artifacts, patterns, and metaphors in architecture. Textile in Architecture is organized into three sections: “Ritual Spaces,” which examines the role of textiles in the formation and performance of socio-political, religious, and civic rituals; “Public and Private Interiors” explores how textiles transformed interiors corresponding to changing aesthetics, cultural values, and material practices; and “Materiality and Material Translations,” which considers textile as metaphor and model in the materiality of built environment. Including cases from Morocco, Samoa, France, India, the UK, Spain, the Ancient Andes and the Ottoman Empire, this is essential reading for any student or researcher interested in textiles in architecture through the ages.

Winner of the 2023 Early Slavic Studies Book Prize from the Early Slavic Studies Association (ESSA) (Best book) Medieval Moldavia – which was located within present-day northeastern Romania and the Republic of Moldova – developed a bold and eclectic visual culture beginning in the 15th century. Within this networked Carpathian Mountain region, art and architecture reflect the creativity and diversity of the cultural landscapes of Eastern Europe. Moldavian objects and monuments – ranging from fortified monasteries and churches enveloped in fresco cycles to silk embroideries, delicately carved woodwork and metalwork, as well as manuscripts gifted to Mount Athos and other Christian centers – negotiate the complex issues of patronage and community in the region. The works attest to processes of cultural contact and translation, revealing how Western medieval, Byzantine, and Slavic traditions were mediated in Moldavian contexts in the post-Byzantine period. Winner of the 2023 Early Slavic Studies Book Prize, awarded by the Early Slavic Studies Association (ESSA) for the best book published between Sept 1, 2021 and August 31, 2023 in the field of Early Slavic Studies (pre-1800). The awarding committee praised the volume as ‘the first English monograph to provide a comprehensive overview of Moldavia's artistic and architectural landscape during the 15th and 16th centuries, locating the region as a significant facet in the global map of art history.’ Official ESSA announcement.

This volume engages with notions of lateness and modernity in medieval architecture, broadly conceived geographically, temporally, methodologically, and theoretically. It aims to (re)situate secular and religious buildings from the 14th through the 16th centuries that are indebted to medieval building practices and designs, within the more established narratives of art and architectural history.