Late antique and early medieval graphic signs have traditionally been studied by narrowly focused specialists leading to the fragmentation and decontextualization of this important body of material. Therefore, the volume aims “to deepen interdisciplinary research on graphic signs”
(7) of the third through tenth centuries, with contributions from archaeologists, historians, art historians, a philologist, and a paleographer. Ildar Garipzanov’s introduction defines the central terms (sign, symbol, graphicacy), calls for supplanting the text-image binary with “the
concept of the visual-written continuum” (15), and argues that graphicacy was central to visual communication in this period. He emphasizes the agency of graphic signs and notes that their study can amplify our understanding of the definition of personal and group identity, the articulation
of power, authority, and religious affiliation, and communication with the supernatural sphere.