Medieval History; Medieval Art; Representation of Power; Kingship; Medieval Mediterranean; Royal Portrait; Royal Iconography; King's Body
Grigoryan SavaryGohar (2022), Chapter 1. Royal Images and Coronation Celebrations in the Sermons of Yovhannēs Pluz Erznkac‛i, in Vagnoni Mirko, Bacci Michele, Studer-Karlen Manuela (ed.), Brill, Leiden, 33-57.
BacciMichele (2022), An Introductory Essay. Mediterranean Perspectives on Royal Images, in Studer-Karlen Manuela, Bacci Michele (ed.), BRILL, Leiden, 1-32.
BacciMichele (2022), Beards and the Construction of Facial Appearance in the Middle Ages, in Voskoboynikov Oleg (ed.), Sismel, Florence, 115-131.
Fernández Pozzo Sofia (2022), The King's Dashing Attire c. 1200. Alfonso II and Pedro II of the Crown of Aragon un the Liber Feudorum Maior and Liber Feudorum Ceritanae, in Vagnoni Mirko, Bacci Michele, Studer-Karlen Manuela (ed.), Brill, Leiden, 449-477.
Grigoryan SavaryGohar (2021), Mariun: An Exiled Queen's Pilgrimage and Death in Jerusalem, in Al-Uṣūr al-Wusṭā: The Journal of Middle East Medievalists
, 29, 217-255.
Grigoryan Savary Gohar (2021), Armenian Colophons on the Takeover of Sis (1375), in Revue des Études Arméniennes
, 40, 85-99.
Grigoryan Savary Gohar (2021), Au sujet de l’authenticité des deux feuillets d’un manuscrit «cilicien», in Revue des Études Arméniennes
, 40, 263-296.
VagnoniMirko (2021), G. M. CANTARELLA, Ruggero II. Il conquistatore normanno che fondò il Regno di Sicilia, Roma, Salerno Editrice, 2020., in Archivio Storico Italiano
VagnoniMirko (2021), La messa in scena del corpo regio nel regno di Sicilia: Federico III d’Aragona e Roberto d’Angiò
, Basilicata University Press, Potenza.
VagnoniMirko (2021), Roberto d’Angiò nella gloria della Morte: il San Ludovico di Tolosa di Simone Martini, in Eikon-Imago
Grigoryan Savary Gohar (2020), Medieval contexts and modern realities of a Genocide-survivor artwork: A review article of H. Watenpaugh's 'The Missing Pages', in Journal of the Society for Armenian Studies
, 27(1), 117-130.
Vagnoni Mirko (2020), L’iconografia di S. Ludovico di Tolosa e la dinastia angioina, in Memorie Valdarnesi. Edizioni dell’Accademia Valdarnese del Poggio
VagnoniMirko (2020), La messa in scena iconica del corpo regio nel regno di Sicilia (1130-1266), in Mélanges de l’École Française de Rome – Moyen Âge
Vagnoni Mirko (ed.) (2020), Royal Divine Coronation Iconography in the Medieval Euro-Mediterranean Area
, MDPI, Basel.
VagnoniMirko (2019), Royal Divine Coronation Iconography. Preliminary Considerations, in Arts
, 8(4), 1-11.
Grigoryan Savary Gohar (2019), Chapter 15. King Gagik Arcruni’s Portrait on the Church of Ałt‛amar, in Pogossian Zaroui (ed.), Brill, Leiden, 416-440.
VagnoniMirko (2019), Si aprì una porta nel Cielo. La Cattedrale di Monreale
, Itaca, Castel Bolognese.
VagnoniMirko (2019), Epifanie del corpo in immagine dei re di Sicilia (1130-1266)
, Palermo University Press , Palermo.
VagnoniMirko (2019), Politiche di epifania del corpo regio in immagine nel regno normanno di Sicilia (1130-1189), Fondazione Federico II Palermo, Palermo, 50-55.
VagnoniMirko (2019), Meanings and Functions of Norman Royal Portrait in the Religious and Liturgical Context: the Mosaic of the Cathedral of Monreale, in Iconographica. Studies in the History of Images
, 18, 26-37.
VagnoniMirko (2019), Prefazione, in Francione Gennaro (ed.), A&B, Acireale, 11-15.
VagnoniMirko (2019), Raffigurazioni regie nel regno di Sicilia. Tra messaggi politici e sentimenti religiosi, in Schola Salernitana. Annali
, 24, 81-106.
VagnoniMirko (2019), Royal epiphanies. The king’s body as image and its mise-en-scène in the kingdom of Sicily (1130-1266), in Rossi Vairo Giulia (ed.), Instituto de Estudos Medievais, Lisbon, 295-310.
VagnoniMirko (2018), El cuerpo del rey como imagen en el reino de Sicilia (1130-1266), in Scriptorium
, (18), 4-13.
VagnoniMirko (2017), Dei gratia rex Sicilie. Scene d’incoronazione divina nell’iconografia regia normanna
, FedOAPress-Federico II University Press , Naples.
VagnoniMirko (2017), Charles V and the Fury at the Prado Museum: The Power of the King’s Body as Image, in Eikón/Imago
, (12), 49-66.
VagnoniMirko (2017), Cristo nelle raffigurazioni dei re normanni di Sicilia (1130-1189), in Paravicini Bagliani Agostino (ed.), SISMEL, Florence, 91-110.
Grigoryan SavaryGohar, Chapter 3. A Jacobean Shell for Šahuk, "Servant of God", in Zakarian David, Alpi Federico, Tinti Irene, Meyer Robin (ed.), Brill, Leiden.
Vagnoni Mirko, D. NORMAN, Siena and the Angevins, 1300-1350. Art, Diplomacy, and Dynastic Ambition, Turnhout, Brepols, 2018., in Bullettino Senese di Storia Patria
VagnoniMirko, Federico II e la messa in scena del corpo regio in immagine, in Colletta Pietro (ed.), Basilicata University Press, Potenza, 203-218.
VagnoniMirko, Guglielmo II e i suoi mosaici: tra intenti politici e sentimenti religiosi, in Pulcherrimum in toto orbe. Storia, architettura, iconologia e teologia della cattedrale di Monreale
, Il Pozzo di Giacobbe, Trapani.
VagnoniMirko, Rendere presente il re assente nella monarchia normanno-sveva. Il ritratto regio, in Presenza-assenza. Meccanismi dell’istituzionalità nella societas Christiana (secc. IX-XIII)
, Vita e Pensiero, Milano.
VagnoniMirko, Royal epiphanies in the kingdom of Sicily: Frederick III of Aragon (1296-1337), in Vagnoni Mirko, Bacci Michele, Studer Manuela (ed.), Brill, Leiden, --.
VagnoniMirko, Sacralità regia e iconografia regia alla corte normanna di Sicilia, in Palatium Sacrum. Sakralität am Hof des Mittelalters: Orte – Dinge – Rituale
, Schnell & Steiner, Regensburg.
VagnoniMirko, The dead body of king Robert of Anjou (1343), in La mort du roi: réalité, littérature, représentation
, Reichert, Wiesbaden.
If sociology has highlighted how the leader’s body performs a fundamental stabilizing function within the complex political and social order characteristic of the relationship between the group and its head, making the very formation of the group somehow possible, it is easy to understand how for the holder of power managing the visibility of his body within society (its public manifestation) is an element of utmost importance. While at times it may be expressed in a direct form (through real participation in public ceremonies and rituals), at others it can be manifested in an indirect way: namely through a series of symbolic, allegorical and fictitious depictions of the ruler. Royal bodily representation can fit among these perfectly since, from the viewpoint of historical, historical-artistic, anthropological and semiotic investigation, it represents a substitute for the monarch which can mark out space, legitimize power and mediate between sovereign and subjects in order to consolidate the union under the crown. In other words, owing to its intrinsic capacity to indirectly persuade, convince, attract and co-opt, this representation constitutes a fundamental element of power.An animated scientific debate has been sparked in recent years (especially in the German sphere and in terms of historiographical research) in connection with the function that can be attributed to representation of the king within medieval society, in some cases calling into question what had previously been deemed to be indisputably written into the historiography. The project ‘Royal Epiphanies. The King’s Body as Image and Its Mise-en-scène in the Medieval Mediterranean (12th-14th centuries)’ sets out to revive the traditional debate on royal portraiture and its function within Mediterranean society during the mid and late Middle Ages by examining it from an absolutely innovative point of view, namely by analysing it as an integral part of a much wider context of the sovereign’s mise-en-scène of his body. In other words, the aim is to place greater attention on royal bodily representation as a means of communication within a general communication strategy and to study how the public rendering of the royal body and its iconographic representation interact and condition each other.By concentrating on the specific contexts of six kingdoms which cover the whole Mediterranean area from west to east (Aragon, Naples, Sicily, Cyprus, Jerusalem and Armenian Cilicia), the objective is to answer the following questions in particular: how much and how did the king show himself to his subjects? In what forms? Where? When? To whom? For what ends and for what reasons? How much was his image influenced and, in turn, did it influence the way in which the sovereign presented himself to the public? For the Middle Ages, can we speak of the artistic image as a surrogate of the king’s body able to mediate his presence? Did it have a more juridical, eulogistic/celebrative, political/propagandistic or religious/devotional function?Through a typically comparative approach and by making a so-to-speak dynamic comparison between the visual and the material and textual sources, the project sets out to connect the artistic product with the overall context of its creation, function and reception. All of this will enable a better understanding of how the royal image was used as a means of symbolically presenting the sovereign’s bodily figure within society, and ascertain how he could have potentially used his iconographic representation as a political tool and means of power. Hence, in these terms, there is no doubt as to the utility and necessity of this type of study by art historians.