{"word_count": 726, "character_count": 5282}
[caption id="attachment_5271" align="aligncenter" width="500"] D'après Henri de Gissey, Le Grand Carrousel donné par Louis XIV dans la cour des Tuileries à Paris, XVIIe siècle, huile sur toile, 285 x 365 cm, Versailles, musée des châteaux de Versailles et de Trianon.[/caption]Type : journée d'études.Date et horaire : 24 novembre 2018 .Lieu : The Courtauld Institute of Art, Londres.In recent years, a renewed interest in early modern rituals, festivals, and performances has prompted a reconsideration of ceremonious processions with a particular focus on their impact on social, cultural, artistic, and political structures and practices. Simultaneously, scholars have increasingly acknowledged the mobility of early modern artists across geographical, religious, and cultural borders. Although processions were witnessed by natives and visitors alike and were therefore prime instances of cross-cultural encounters, their depictions by artists both local and foreign remain a lesser-studied body of visual material. This symposium proposes to explore the visual representations of processions that took place within cross-cultural encounters both within and outside of Europe.A procession was an act of movement that was particularly charged with meaning; an ambulatory mode of celebration, it had a global resonance in the early modern period. Processionals impressed foreign dignitaries, established modes of rule, communicated traditions, and negotiated power balances and were highly sensory occasions—as such they lent themselves readily to visual representation and were enthusiastically recorded in literature. Pageantries, military processions, and Joyous Entries (Blijde Inkomsten) were recorded in a variety of media, as exemplified by the festival books celebrating the ephemeral constructions orchestrated for Cardinal-Infante Ferdinand’s arrival in Antwerp (1635) or the eighteenth-century paintings depicting Venice’s dazzling boat parades in honour of foreign dignitaries. Furthermore, ceremonial processions conceived for births, weddings, circumcision feasts, and funerals occasioned visual representations such as the colourful Mughal miniature Wedding Procession of Dara Shikoh in Presence of Shah Jahan (1740). In addition, the notion of procession can be expanded to encompass various expressions of mobility that could be understood and were often depicted as a procession. Both Jan van Scorel’s frieze-like painting of the knightly brotherhood commemorating their Holy Land pilgrimage (c. 1530) and the depiction of ambassadors travelling with their retinue to foreign courts and cities can be perceived as a form of procession. Thus, the structure of a procession was increasingly adopted in the Early Modern period to depict moments of exchange and motion propelled by the quest for knowledge, as much as diplomatic concerns and religious piety. Well-known examples include The Voyage to Calicut tapestry series (1504) as well as the highly detailed printed frieze of a merchant endeavour by Hans Burgkmair (The King of Cochin, 1508).Free admission, all welcome. Advance booking requested.Programmesamedi 24 novembre 20189.00  Registration9.30  Welcome9.45  Session 1: Royal Encounters• Bianca Schor (Independent Scholar, London), Albert Eckhout’s Tapestry Le Roi Porté in Malta: A Diplomatic Encounter• Travis Seifman (University of California), Displaying Foreignness for Prestige: Luchuan Embassy Processions in Edo, 1644–1850• Matthew Gin (Harvard University), Rites of Passage: Re-Tracing Princess Maria Teresa Rafaela’s Entry into France (1745)11.00  Coffee break11.35  Session 2: Beyond the Documentary• Gemma Cornetti (The Warburg Institute, University of London), Stefano della Bella and the Triumphal Entry of the Polish Ambassador in Rome (1633)• Sabrina Lind (Ghent University), A Book without Readers? Or the Audience and the Importance of the Festival Book(s) of the Joyous Entry into Antwerp in 1635• Gaylen Vankan (University of Liège), Imagine Orient: A Military Procession by Jan Swart van Groningen12.50  Lunch break13.50  Session 3: Performing Processions• Laila Dandachi (University of Vienna), ‘The Triumphal Exotic from the East’: The Display of Diplomatic Performances of Early Modern Islamic Empires Shaped by the Iconic and Emblematic Nature of Islamic Military Arms and Armour• Borja Franco Llopis and Francisco Orts-Ruiz (UNED, Madrid), Muslims and Moriscos in the Processions and Royal Entries in Iberia (14–16th Centuries): Beyond Their Visual Representation• Esther Pramschiefer (University of Cologne), Travelling Theatres in Germany: Audiences and Actors Proceeding outwards of Walled Cities15.05  Tea and coffee break15.40  Session 4: Religious Processions• Ashley Patton (University of Minnesota), St Rose of Lima: Identity, Performance, and Surrogacy• Massoumeh Assemi (The Courtauld Institute of Art), Muharram Processions16.30  Short break16.40  Session 5: Itinerant Processions• Raoul DuBois (University of Zurich), Temporality and Mediality of the Processions in Travelogues of the 15th and 16th Centuries• Nicholas Mazer Crummey (Independent Scholar, Budapest), Observing a City in Motion: An Englishman’s Account of the 1675 Ottoman Imperial Circumcision Festival in Edirne17.30  Closing remarks18.00  Reception