The concept that cultures are neither pure nor immutable but diverse and flexible is not a new one. Cultural hybridity reflects the effort to retain a sense of balance among traditions, beliefs, practices, institutions, rituals, and imagery within a multicultural venue. The cultural encounter that the conquering Crusaders experienced in the Latin East entailed the process of the hybridization of sociocultural constructs, resulting in a new, sophisticated identity that reflected a vital social organism, which resided both within and beyond the margins of country, race, ethnicity, class, and linguistic diversity. Strangers and conquerors in the Land of the Bible, the Latin Crusaders and pilgrims sometimes felt that “it would be long to tell” about that cultural and multi-creed blend. This paper refers to Queen Melisende (1105–1161) as the cultural agent who in herself represented hybridity, and in whose patronage the religious and public domain of Jerusalem was designed anew, demonstrating intriguing diversity and intrinsic artistic patterns of the Frankish contextualization of local Eastern and foreign occidental components within the political boundaries of the relocation. This article analyses three visual case studies that embody the new, Frankish performative imagery, and in particular that of Queen Melisende, who in all probability commissioned them. The selection of artefacts follows David Jacoby’s major research interests.

文化既不是纯粹的也不是一成不变的，而是多样化和灵活的，这一概念并不是一个新概念。文化混合反映了在多元文化场所内保持传统、信仰、实践、制度、仪式和意象之间平衡感的努力。征服者十字军在拉丁东部所经历的文化遭遇导致了社会文化结构的混合过程，产生了一种新的、复杂的身份，反映了一个重要的社会有机体，它既存在于国家、种族、民族的边缘，也存在于其边缘、阶级和语言多样性。圣经之地的陌生人和征服者、拉丁十字军和朝圣者有时觉得“要讲述”这种文化和多信条的融合是“漫长的”。本文将梅利森德女王 (1105-1161) 称为文化代理人，她本身就代表着混合性，在她的赞助下，耶路撒冷的宗教和公共领域被重新设计，展示了法兰克人对当地东方文化背景化的迷人多样性和内在艺术模式。搬迁的政治边界内的外国西方成分。本文分析了三个视觉案例研究，这些案例研究体现了新的法兰克表演图像，尤其是梅丽森德女王的图像，很可能是她委托制作的。文物的选择遵循 David Jacoby 的主要研究兴趣。在搬迁的政治边界内展示了当地东方和外国西方成分的法兰克语境的有趣多样性和内在艺术模式。本文分析了三个视觉案例研究，这些案例研究体现了新的法兰克表演图像，尤其是梅丽森德王后的图像，很可能是她委托制作的。文物的选择遵循大卫雅各比的主要研究兴趣。在搬迁的政治边界内展示了当地东方和外国西方成分的法兰克语境的有趣多样性和内在艺术模式。本文分析了三个视觉案例研究，这些案例研究体现了新的法兰克表演图像，尤其是梅丽森德王后的图像，很可能是她委托制作的。文物的选择遵循大卫雅各比的主要研究兴趣。