sufi said:'3 the east's resentment of the west ' - i have absolutely no clue wot your on about here...maybe clarify that dominic or just give it a rest cos i think that sounds like an offensive generalisation![]()
i meant that even before, for example, damascus became a muslim center, political and religious leaders there tended to resent the influence of constantinople and rome -- although many of the doctrinal disputes of the early xian era reflected real confusion about the nature of jesus christ (how divine? how human?) and of the trinity, the positions taken were also politically motivated
resentment and arrogance are valid terms to use here -- i.e., rome and constantinople arrogating political and doctrinal power, and great cities like damascus and alexandria resenting such arrogance
(if you don't think resentment is a common feature of political psychology -- no less than arrogance or contempt -- then i'm not sure where to begin in breaking things down for you)
also -- i'm not sure what point you're attempting to establish w/ the portrait of mehmet
in general, early renaissance painting in italy borrowed heavily from byzantine art -- a fact recognized by the standard historical narrative
further, according to the standard account, the west does not fully eclipse the east until after the fall of constantinople -- i.e., the turks are portrayed, in the conventional narrative, as militarily and administratively vigorous up until about 1700, but as having contributed very little to science, learning or art -- i.e., the new center of learning and art is northern italy circa 1500 -- so i don't really see the point of the image you posted of the painting -- i.e., how does this advance a "revisionist" account???
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