The growth in debates concerning the concept of 'the global' in medieval art history, and the more complex picture of Eurasian and African societies and material culture that has emerged in the past two decades has highlighted challenges to traditional art historical narratives, specializations, and scholarly training. And while these problems affect Byzantine, Islamic, Western medieval, and East Asian art history, there has been little conversation among scholars in these fields. A cutting-edge work on global medieval art, this volume offers a starting point for conversations among scholars working on multiple cultural regions.

Editor’s Introduction, by Christina Normore         <br>A Camel’s Pace: A Cautionary Global, by Bonnie Cheng<br>The Fatimid Holy City: Rebuilding Jerusalem in the Eleventh Century, by Jennifer Pruitt          <br>Worldliness in Byzantium and Beyond: Reassessing the Visual Networks of Barlaam and Ioasaph, by Cecily J. Hilsdale          <br>Exchange of Sacrifices: West Africa in the Medieval World of Goods, by Sarah Guérin        <br>The Beryozovo Cup: A Byzantine Object at the Crossroads of the Twelfth-Century Medieval World, by Alicia Walker<br>Spiritualized Warfare and Christian-Muslim Encounters in a Medieval Dagger, by Heather Badamo         <br>Global Medieval at the 'End of the Silk Road', circa 756 CE: The Shōsō-in Collection in Japan, by Jun Hu            <br>Response: Medievalists and Early Modernists: A World Divided?, by Lia Markey and Jessica Keating     <br><br>