For the second year, the Index of Medieval Art was pleased to offer the Graduate Student Travel Grant in an effort to support a non-Princeton student who wishes to attend the Index conference in person. The recipient this year was Anahit Galstyan, a PhD student in the Department of History of Art and Architecture at the University of California, Santa Barbara, who joined us in Princeton on November 11 and attended the “Whose East?” conference. We are glad to share her thoughts.
“It was an immensely enriching experience, and I found great enjoyment in the proceedings. The presentations were not only intellectually stimulating but also delivered with an engaging flair that made the entire event thoroughly enjoyable. I would like to extend my heartfelt thanks for the generous grant that made my participation in this conference possible. Without such support, this experience would have remained beyond my reach. I think that by facilitating students’ attendance through the Graduate Student Travel Grant, the Index of Medieval Art contributes to the broader dissemination of knowledge and the fostering of academic dialogue.
“I found great merit in the engagement of the meticulously curated selection of participants in exploration and reevaluation of the entrenched dichotomies between East and West, Islam and Christianity. The discussions surrounding cultural interactions within the expansive region of the Eastern Mediterranean and beyond also further contributed to the recent scholarly discourse on questioning the traditional disciplinary predisposition of Byzantine studies to prioritize its metropolitan center, this way contributing to the reshaping of the dominant narratives in our field.
“Given my focus on the culturally and socially diverse medieval city of Ahlat and its funerary architecture, the exploration of intercultural exchanges at the event deeply resonated with my own work, making it not just intellectually engaging but also personally significant. I enjoyed all the presentations, with one of the standouts being Christian Raffensperger’s talk on the classification and categorization of Rus in medieval times. His insights provided a refreshing perspective that challenges established norms in the field. Anthi Andronikou’s presentation on interfaith dynamics between Eastern Christian and Islamicate art was also especially captivating among the various talks.
“I want to particularly highlight Gohar Grigoryan’s presentation, which provided a fascinating glimpse into first-hand accounts, shedding light on the intricate dynamics of Armenian elite self-fashioning in the thirteenth-century geopolitical context. It was particularly noteworthy in challenging the traditional view of a relatively uniform Armenian society during that era. Her paper was not just intellectually engaging but also skillfully presented, prompting me to reflect on my own research on identity creation. Grigoryan’s work emphasized the importance of examining the individuals I study not only in relation to external political dynamics but also in relation to each other, encouraging a more nuanced exploration of subtle expressions of personal identity. Additionally, Erik Thunø’s exploration of South Caucasian cross steles added another dimension to my understanding, urging me to consider similar cultural expressions beyond simple transmission.
“While attending the conference was truly delightful, I was also thrilled to have the opportunity to visit the numismatics collection. Handling and closely examining Byzantine, Cilician Armenian, and Seljuk coins was a highlight for me – an opportunity that I doubt I would have had as a grad student otherwise. Additionally, spending time in the Index was a wonderful experience. Dr. Maria Alessia Rossi and Dr. Henry D. Schilb provided invaluable assistance in navigating both physical and online catalogs to trace some types of funerary objects I study, such as censers and lamps, that are scattered across different collections worldwide. Finally, I am immensely grateful to Professor Pamela Patton for her generous hospitality and to Fiona Barrett for ensuring that I was well-fed throughout my stay.”
And we thank YOU, Anahit, for your thoughtful comments and for sharing your experience with the Index readers!
Anahit Galstyan is a PhD student in the Department of History of Art and Architecture at the University of California, Santa Barbara. Her research focuses on Christian-Islamic interactions in medieval Anatolia as manifested in the transculturation and the transmission of architectural knowledge.
We are excited to announce a short-term graduate opportunity at the Index of Medieval Art! This is a two to three-month remote, part-time research opportunity to help incorporate key works of art on Mount Athos into the Index database. The position would require the student to examine the Index legacy records, update the metadata, identify new color images, and incorporate them into the online database. They will be trained in Index norms in cataloging works of art, describing the iconography, transcribing inscriptions, and adding bibliographic citations.
The position is part of a new multi-year project, Connecting Histories: The Princeton and Mount Athos Legacy, that aims to create an international team of faculty, staff, and students that will explore and bring awareness to the rich, complex, and remarkable historical and cultural heritage of Mount Athos, and its connection to Princeton. This opportunity offers a stipend of $2,500 and has been generously funded by the Seeger Center for Hellenic Studies, with the support of the Dimitrios and Kalliopi Monoyios Modern Greek Studies Fund and Art & Archaeology Department at Princeton University.
The deadline for applications is December 1, 2023. For more details about eligibility criteria and the application process, please visit the “Announcements” page on the Connecting Histories website.
Index staff have been busy at the Index working on a variety of projects and launching free public access to the database, which officially opened on July 1, 2023. It has been wonderful to see a warm reception from researchers, and recent user statistics show that the Index database is reaching hundreds of unique users per day.
We will continue offering Zoom tutorials and the next one is planned for the Spring 2024 semester. If you have been wondering how to get the best results out of your searches and see more about what the Index covers, please stay tuned for the next date, or write to us directly with your research inquiry!
We’re still accepting applications for the student travel grant award to attend this year’s Index conference in person (Deadline, 1 October 2023). Up to $500 will be reimbursed for a non-Princeton graduate student who wishes to attend the conferences but lacks the financial resources to do so. To see the full eligibility and apply, follow this link: https://ima.princeton.edu/graduate-student-travel-grant/.
The Index conference “Whose East? Defining, Challenging, and Exploring Eastern Christian Art” will take place on Saturday, 11 November 2023 in Julis Romo Rabinowitz A17 at Princeton University from 8:45am to 5:15pm (EDT).
Please note registration is not needed to watch the livestream, and the conference will be broadcast live at this link: https://mediacentrallive.princeton.edu/.
This blog post is the seventh in a series focusing on members of the Index staff. Today we introduce Jon Niola.
What is your role at the Index?
I am the Information Technology Manager here at the Index. I manage the day-to-day technology needs of the Index. That includes everything from managing virtual machines on the cloud to deploying new computers for staff or writing code to enhance the accessibility of our web applications.
Before working for the Index, what was the most interesting job you had?
In the late 1990s I worked at a technology startup in New York City trying to improve Internet search. We used algorithms to make a search more appropriate to the context. For example, if you searched for the keyword “jaguar,” were you searching for the automobile or the animal? Our algorithms used recent searches and site visits to try and narrow the scope.
When you’re not working at the Index, what do you like to do in your spare time?
If the weather cooperates, I absolutely love to hike, and I spend quite a bit of time on the trail, getting some exercise and fresh air and enjoying the tranquility.
Do you have a favorite work of art or favorite place you’ve visited?
Sainte-Chapelle in Paris. I had always planned on visiting it when I went to Paris, but to me it was just a bucket list, “must do” item. I never expected it to be so incredible in person. I had a few thousand dollars of camera gear with me, and no photo I took does justice to the beauty of it, especially the upper chapel with the incredible stained glass.
What’s your favorite building or spot to sit on campus?
This is a tough call. I can’t choose between Nassau Hall and the university chapel.
The chapel is beautiful, and at certain times of the day when the angle of the sun is right, you get these beautiful colors on the stone as the sun filters through the stained glass.
The history buff in me appreciates Nassau Hall. The fact that it once served as the capitol of the United States is fascinating to me. We are blessed with a lot of great local history.
Coffee or tea?
Yes. I often drink coffee in the morning, but I do love a good tea.
This blog post is the sixth in a series focusing on members of the Index staff. Today we introduce Fiona Barrett.
What is your role at the Index?
My role at the Index is that of Office Administrator/Coordinator. The exciting part of my job, which is not at all traditional (in the administrative sense), is that I am able to assist where/when needed in the Index database and library. If you’ve seen the #IndexHumpDay posts on social media, you’ll see my weekly interaction with iconography—a variety of camels depicted across media, geographies, and time periods.
Before working for the Index, what was the most interesting job you had?
Before working for the Index, I worked in market research for twenty-five years, which—while interesting and challenging at times—in no way compares to my experience here at the Index. I’m very grateful to be exposed to all of this art history, and lucky enough to have colleagues who take the time to explain things to me when needed.
When you’re not working at the Index, what do you like to do in your spare time?
Hmm … a few of my favorite things: cooking, eating, entertaining, reading, gardening, traveling, listening to music (especially my husband’s 😊), and I love spending time with family and friends; they are one and the same.
Do you have a favorite work of art or favorite place you’ve visited?
I spent part of my childhood growing up in Ireland, but I truly didn’t appreciate the country and the history until I was in my early thirties. I was lucky enough to travel back a few times, with my father and then with my son. I would go again in a heartbeat! This year I am planning to travel to Italy, which has been on my bucket list for quite some time.
What do you like best about being back on campus in person?
Now that we’re back in person, and I am working with colleagues face-to-face, it’s great to be able to have our in-person conferences and workshops once again. This past conference—“Looking at Language” in November 2022—brought together over fifty attendees, and seven of the eight speakers were able to present in person.
Coffee or tea?
YES, PLEASE!
We are excited to announce that the mosaics of St. Sophia Cathedral in Kyiv are now live in the Index database! Thanks to a Flash Grant from the Princeton University Humanities Council, Dr. Julia Matveyeva, Associate Professor in the Department of Fine Arts and Design of the O. M. Beketov National University of Urban Economy in Kharkiv, joined the Index remotely for the last five months to work on Ukraine’s medieval cultural heritage. Find out more about St. Sophia Cathedral, the work of an Index cataloger, and Dr. Matveyeva’s research at this link.
Registration for the November conference Looking at Language, taking place Saturday, 12 November 2022 is now live! The Index has two exciting announcements in connection to the conference:
For the first year, the Index will offer one graduate student travel grant for a non-Princeton student who wishes to attend the conferences but lacks the financial resources to do so. The grantee will be invited to participate in all aspects of the conference, including the speaker lunch, and to pursue research at the Index if their visit schedule permits. Review the eligibility requirements and the application process here.
On Tuesday, 8 November 2022, 12:00 – 1:00pm EDT, the Index will be holding a workshop on Zoom titled Looking at (Index) Language: A Dive into Taxonomy at the Index of Medieval Art. This workshop is open to anyone interested in learning about Index language standardization practices and preferred terms in Index cataloging. Find out more about the workshop and how to register here.
This blog post is the fifth in a series focusing on members of the Index staff. Today we introduce Pamela Patton.
What is your background and specialization?
I’m a medievalist who studies the visual culture of the Iberian Peninsula, a focus that began at Tufts University when my advisor Madeline Caviness pointed me toward the Pamplona Bibles as a research topic. I was fascinated, and still am, by the complexity of medieval Iberian culture and its historiography—the questions are constantly evolving. The decision served me well: after doing grad degrees at Williams College and Boston University, I was offered a fellowship at Southern Methodist University in Dallas, which then evolved into a split curatorial and faculty position in “Spanish Art.” Although I shifted out of curatorial work after tenure, as a professor at SMU I was able to develop several courses on medieval Iberia as well as other aspects of the Middle Ages. Since coming to the Index in 2015, I’ve continued to research and occasionally teach medieval Iberian things, and I’m always happy to pitch in on cataloging works of art from Spain for the database. After 30+ years in the field, I do occasionally wonder if I should wander into some other part of the world, but then some great new Iberian question turns up, and back I go.
What research projects are you working on currently?
I’ve just wrapped up a project on how skin color and stereotype were used in thirteenth- and fourteenth-century Iberia to signal racial, social, and cultural difference, and that’s inspired me to think further about the role of improvisation generally in Gothic manuscript illumination, specifically in the illustrated manuscripts of the Cantigas de Santa María, which were made for Alfonso X of Castile in the late thirteenth century. Illustrating the four hundred songs that were to be included in those two manuscripts must have been a massive task, and the artists met the challenge with some highly inventive iconography—giant silkworms, flying chairs, dancing pork chops, and the like. They must have had considerable latitude, in addition to a wonderful imagination!
What do you like best about working at Princeton?
Princeton does things for real. Very few universities so effectively hold teaching and research at their core, not to mention committing the resources that help them happen. As Index director, I especially appreciate the openness to new ideas, the support for scholarly initiatives, and the extraordinary research resources. These things don’t happen by themselves; they take investment at the highest level. On a more personal note, I’m grateful every day that when I go to work I have the opportunity to hear and share ideas with so many bright, thoughtful people, both in the Index and throughout campus, and in such a beautiful place. It’s a fine reason to get up in the morning.
What travel experience played a role in your becoming an art historian?
My mother had always wanted to travel, and when I was a child she and my father twice managed to put aside enough money to take the whole family to Europe. Remember Arthur Frommer’s Europe on $10 a Day? My mother really did that. I loved visiting all the art museums and historic sites, but I think reading The Hobbit on the train between cathedral towns in England was probably what made me a medievalist. The line between history and fantasy obviously was very blurry for me then, but somehow I became absolutely certain I wanted to learn more about this stuff. Corny, okay, but give me a break—I was eleven.
What do you like best about being back on campus in person?
People and books. I really missed the easy discourse that comes with sharing a coffee, talking over a research question, or listening to Q&A after a lecture. Ideas flow so much more freely when you’re in person and the moment has your full, active attention. And there is nothing more inspiring than walking into the library stacks to find the physical book you need: the excitement of spotting and opening it; the anticipation of what you’ll find in its pages; the serendipity of seeing what else is on that shelf. And the lights! I really like how the lights in Firestone brighten gradually when you walk into an individual aisle. It’s as if the light bulb that’s about to go off in your head is already going off all around you.
Coffee or tea?
Yes, please, all of it. I would drink coffee all day if I could, especially if it’s the cortados that I got hooked on during dissertation research in Spain. But to spare my co-workers a jittery colleague, in the afternoon I usually segue into tea, ideally a nice green jasmine.
This blog post is the fourth in a series focusing on members of the Index staff. Today we introduce Catherine Fernandez.
What is your background and specialization?
As a medieval art historian, I owe so much of my intellectual formation to the universities where I earned my degrees. Can I use this space to give a shout-out to all the medievalists—both past and present—at Florida State University and Emory University? My academic journey, so to speak, began at FSU with two BAs, one in English Literature and one in Art History. I earned my PhD in Art History at Emory and then headed up the east coast to join the Index research staff immediately after graduation. My current research interests center on medieval treasuries and French Romanesque art, but I am happy to get my thousand-year medieval “fix” through various Index projects. Based on cataloguing or classroom instruction needs, I might be simultaneously working on an Ottonian manuscript, a late-antique sarcophagus, or Gothic archivolts; it’s an embarrassment of riches.
What research projects are you working on currently?
At the Index, I happily embrace a wide range of topics, but I am particularly thrilled to have worked with our IT guru Jon Niola in the development of a field within individual records that “maps” iconographic programs within medieval buildings and other structures. By highlighting the placement of in-situ works of art, the “Location in Structure” field can only amplify our understanding of medieval iconography’s spatial dimension. With regard to my own research, I am currently working on my book project, entitled Charlemagne’s Pectoral: The Presence of Carolingian Memory at Saint-Sernin of Toulouse. This monograph seeks to reintegrate a group of extraordinary treasury objects associated with the emperor Charlemagne within the liturgical space of the famous Romanesque shrine.
What do you like best about working at Princeton?
It remains an absolute pleasure to work with so many wonderful medievalists—both members of the local community and visiting scholars—and participate in the “Life of the Mind” on campus.
What travel experience played a role in your becoming an art historian?
I consider myself fortunate to have had an upbringing that included extensive global travel. Over the course of my childhood, my family visited countless monuments, museums, galleries, and archaeological sites around the world, and any number of these places could have infected me with the “art history bug.” But humor me, if you will, when I give credit to the Metropolitan Museum of Art and E.L. Konigsburg’s novel From the Mixed-Up Files of Mrs. Basil E. Frankweiler. I mean, what art historian hasn’t fantasized about hiding out at the Met like the novel’s two child protagonists?
What do you like best about being back on campus in person?
Close access to actual libraries and actual human beings, as I am rather fond of both.
Coffee or Tea?
Red Bull. Blueberry flavored. What? Was I supposed to wax poetic about some kind of refined oolong?
