Art from the Medieval Mediterranean: A Critical View

A special issue of Arts (ISSN 2076-0752).

Deadline for manuscript submissions: closed (1 April 2026) | Viewed by 3751

Editor


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Guest Editor
College of Fine Arts, University of New Mexico, Albuquerque, NM 87131, USA
Interests: Mediterranean art

Special Issue Information

Dear Colleagues,

The field of Mediterranean Studies has blossomed in the past decade. Seminars and publications and exhibitions have encouraged scholarship regarding the fluidity and exchange of cultures in and around the “middle sea.” Art History has intersected with this study area, largely through research on the interactions between Byzantine, Islamic, Jewish and Christian cultures in the Middle Ages (c. 500 CE – 1500 CE). The Mediterranean offers a unique lens through which to explore these intersections and a counter-step to the global perspective on the Middle Ages. Rather than strictly comparative in nature, Medieval Mediterranean Art engages in the trans-cultural through the concepts of transmission and exchange, local and foreign, as well as conflict and coexistence.

This Special Issue seeks to explore the nature of Mediterranean Studies as it relates to Medieval Art History. Rather than simple case-studies from discreet areas around or adjacent to the Mediterranean, papers will offer critical insight into works of art that cross boundaries and act within the interstices of religions, languages, regimes, as well as trade, conflict, and exchange. The terms “Medieval” and “Mediterranean” in this issue are understood broadly, and papers covering a range of time periods, and regions are encouraged. Central to the objective of the issue are papers which critically explore what Mediterranean means or its importance in understanding examples of Medieval Art.

Dr. Justine M. Andrews
Guest Editor

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Keywords

  • Mediterranean
  • art history
  • medieval
  • Byzantine
  • Islamic
  • Jewish

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Published Papers (3 papers)

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Research

14 pages, 6679 KB  
Article
A Comparison of Byzantine and Armenian Church Music in Terms of Musical Parameters
by Kutup Ata Tuncer and Seçil Soytok Nalçacı
Arts 2026, 15(6), 117; https://doi.org/10.3390/arts15060117 - 29 May 2026
Viewed by 324
Abstract
In this study, we compare Byzantine and Armenian church music, focusing on musical parameters such as notation systems, modal structure, rhythmic concepts, and liturgical practice. Both traditions, which took shape within the shared cultural heritage of Anatolia, share fundamental common characteristics such as [...] Read more.
In this study, we compare Byzantine and Armenian church music, focusing on musical parameters such as notation systems, modal structure, rhythmic concepts, and liturgical practice. Both traditions, which took shape within the shared cultural heritage of Anatolia, share fundamental common characteristics such as the eight-mode (Octoechos/oot tzayn) system, a monophonic vocal-based structure, and a text-based rhythmic approach; however, they have developed distinct characteristics under the influence of historical, political, and cultural dynamics. Conducted using comparative historical research methods, this study involved a literature review based on primary and secondary sources. The findings reveal the following: while the Byzantine tradition followed an evolution from Ecphonetic to Neume to modern notation, the Armenian tradition developed the Khaz–Hampartsum notation system; the distinction between authentic and plagal modes exists in both traditions, yet the correspondences established with the Turkish makam system at the theoretical and microtonal (cent) levels are approximate; and regarding rhythmic structure, both traditions share a text-driven, free-flowing organization in which liturgical prosody takes precedence over fixed meter, with such variation as exists operating at the level of ornamentation and performance practice rather than underlying rhythmic principle. During the Ottoman period, both traditions experienced deep interaction with Turkish makam theory; the Chrysanthos reform in Byzantium and the Hampartsum notation in Armenian music is concrete evidence of this interaction. Full article
(This article belongs to the Special Issue Art from the Medieval Mediterranean: A Critical View)
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18 pages, 1630 KB  
Article
Consumption as a Lens for Viewing the Complexities of Medieval Mediterranean Art
by James G. Schryver
Arts 2026, 15(4), 74; https://doi.org/10.3390/arts15040074 - 9 Apr 2026
Viewed by 499
Abstract
The Mediterranean is being recognized as a helpful frame of reference for scholarship in various academic disciplines focusing on that area of the world. Some of these focus on the sea, while others focus on the countries surrounding it. Proponents laud the commonalities [...] Read more.
The Mediterranean is being recognized as a helpful frame of reference for scholarship in various academic disciplines focusing on that area of the world. Some of these focus on the sea, while others focus on the countries surrounding it. Proponents laud the commonalities and unities that such an approach foregrounds, as well as the new ways of looking at related cultures and cultural products. At the same time, however, scholars recognize a number of challenges that come with this approach, particularly regarding the balance of micro and macro levels of analysis. Given these challenges, as well as the importance of local contexts for understanding aspects of time and agency in most works of art and architecture, how useful might such a lens be for scholars of medieval art and architecture in the region? How might we capitalize on the benefits of a Mediterranean frame of reference while also allowing for its challenges to be addressed? In response to these questions, consumption is suggested as a framework of analysis. Scholars of certain aspects of consumption have sought to balance similar tensions and their studies provide useful insights into how the local and the regional, the micro and the macro, might be effectively balanced. Such a consciously multiscale approach has the potential to help us see how the local and the Mediterranean are intertwined. In this way, thinking about certain aspects of medieval Mediterranean art via a lens of consumption can help us to make sense of how it reflects some of the complexities of the region. Full article
(This article belongs to the Special Issue Art from the Medieval Mediterranean: A Critical View)
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27 pages, 5493 KB  
Article
Ceremonial, Architectural Theatricality, and the Multisensory Cityscape in the Medieval and Early Modern Mediterranean
by Karen Rose Mathews
Arts 2025, 14(6), 169; https://doi.org/10.3390/arts14060169 - 9 Dec 2025
Viewed by 1518
Abstract
Ceremonial deployed with the aim of displaying and perpetuating power was a shared practice across the medieval Mediterranean. Processions, ceremonies, and ritual acts created solidarity and consensus, naturalized dominion, and conveyed legitimacy while minimizing dissent and threats to social and political hierarchies. Such [...] Read more.
Ceremonial deployed with the aim of displaying and perpetuating power was a shared practice across the medieval Mediterranean. Processions, ceremonies, and ritual acts created solidarity and consensus, naturalized dominion, and conveyed legitimacy while minimizing dissent and threats to social and political hierarchies. Such ceremonial acts were carried out in the public spaces of Mediterranean cities, connecting people, objects, and places in multisensory displays. This paper will explore the relationship between urban spaces and ritual and focus on the architectural contexts where ceremonies and rituals were performed. Three cosmopolitan Mediterranean cities—Cairo, Constantinople, and Venice—will serve as case studies for analyzing how richly ornamented architectural structures were employed as the staging areas for spectacle. Their prominent placement and ornamentation highlighted the theatricality of ceremony and defined a multisensory cityscape that was meant to overwhelm the senses and impress participants and spectators alike. Full article
(This article belongs to the Special Issue Art from the Medieval Mediterranean: A Critical View)
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