L’ Alcorano of Andrea Arrivabene
L’Alcorano published by Arrivabene in 1547 has been considered a servile copy of Theodor Bibliander’s edition since the sixteenth century, but this conception has changed radically due to a recent publication (Tommasino, 2013). Starting off from this publication, this essay aims to delve further int...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2016
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| In: |
Church history and religious culture
Year: 2016, Volume: 96, Issue: 1/2, Pages: 130-154 |
| Standardized Subjects / Keyword chains: | B
L' Alcorano di Macometto
/ Reception
/ Muḥammad 570-632
/ Iconography
|
| IxTheo Classification: | BJ Islam CC Christianity and Non-Christian religion; Inter-religious relations KBJ Italy TJ Modern history |
| Further subjects: | B
translations of the Koran into European languages
Koran in Italian
L’Alcorano di Macometto
Andrea Arrivabene
Attitudes towards Islam
sixteenth-century religious history
iconography of Muhammad’s life
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| Online Access: |
Volltext (Verlag) |
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| 520 | |a L’Alcorano published by Arrivabene in 1547 has been considered a servile copy of Theodor Bibliander’s edition since the sixteenth century, but this conception has changed radically due to a recent publication (Tommasino, 2013). Starting off from this publication, this essay aims to delve further into L’Alcorano suggesting that the book was an innovative product, not only because of its literary sources and translation, but also due to the presence of meaningful iconographical details in its capital letters. At the same time, an analysis of the cornice istoriata reveals its images as the very first visual representation of Muhammad’s life. The paper also puts forward a hypothesis about the book’s creation, considering it a joint venture involving several bookmen: Arrivabene, Comin da Trino, Bernardino Bindoni, and Bertolomeo detto Imperatore. The final section deals with the influence and material history of the book and its iconography during the centuries following its publication. | ||
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