The history of art has, for a long time, become an enlightened knowledge and a discipline inherited from the Enlightenment. She achieved this by establishing herself in the science of the visible, of ...looking at the work and of bringing visual meanings to light. In this way, it has made classifications, established hierarchies, constructed value judgments which have legitimized forms or, on the contrary, discarded representations considered as accessory and minor, even derisory, doomed to remain in the penumbra of knowledge. It is against this invisibilization of images that could be described as obscure, in the shadow of an art that is noble in every way, that visual studies have proposed another episteme. This new paradigm frees images – from the point of view of their subjects, their forms and their materiality, the modalities of their diffusion and their mass consumption – but also their authors as well as their recipients, from the temptation of the masterpiece. 'artwork. This verdict,...
The temple of Jerusalem was a monumental structure of the Middle East from the tenth century BCE until the year 70 CE. It passed through phases of renovation, demise, and reconstruction. In ...scripture, and in the faiths of Judaism and Christianity, the Jerusalem temple is more than merely a significant architectural monument. It expresses and instantiates an intersection of the transcendent and the terrestrial spheres. In the hermeneutical studies of the premodern church, for example, the temple is (1) the mystical ‘body’ of all God’s faithful people (the temple’s ‘allegorical’ sense), (2) the faithful soul of each genuine believer (the temple’s ‘tropological’ sense), and (3) the centre of God’s eschatological reign on Earth (the ‘anagogical’ sense). Scriptural warrants underlie all three senses. In Deuteronomy, God’s one shrine summons God’s one people to assemble in awe and joy before the one God (sense 1). In the Psalms, each individual pilgrim ascends Mount Zion in a liturgical reception of God’s imputed righteousness (sense 2). Isaiah and Micah envision the Mount of the Lord’s house raised as the highest mountain and all the Earth’s nations gazing upon it with joy (sense 3). The meaning and power of the temple proved highly expansive over time, growing through the pages of scripture to become a central biblical symbol, a ‘sacrament’, and a prophecy of God’s future kingdom, where deliverance flows out to all who are trapped in this disordered and troubled world. Isaiah the prophet, in chapter 6, glimpses the transcendent meaning of the temple, which the hem of God’s robe filled. He perceived it as a microcosm of the world, with God reigning from beyond the firmament (symbolized by the olivewood doors to the inner sanctuary), seated above the sky (symbolized by the altar’s clouds of incense). The prophet hears the seraphim call to one another, ‘the whole earth is full of his glory’ (kābôd, Isa 6:3), whereas, in fact, it is the temple building alone that fills with the glory (kābôd). In affirming that the whole world is full of yhwh’s splendour, Isa 6:3 anticipates the assumption of Isa 66:1 that temple furnishings and iconography represent inklings of God’s cosmic habitation. Likewise, it anticipates the prayer of Ps 72:19 that the kābôd may someday fill the Earth and be seen by all flesh everywhere (see Isa 40:5).
This article presents a quantitative analysis of iconographic trends in the depiction of deities in the coinage of the Roman Empire throughout the second and third centuries CE to explore temporal ...shifts in Roman imperial propaganda in the context of developments and pressures in affluence, prosperity, and political stability. Next to providing deeper insight into the topic of Roman imperial ideology, the article’s main objective is to test the validity of the so-called affluence hypothesis from the debate on cultural evolution. The hypothesis predicts that an increase in affluence and prosperity leads to the emergence of moralizing themes in religion. Based on the comparison of the iconographic trends in Roman coinage, as represented by the Online Coins of the Roman Empire project portal of coin types, with changes in affluence and prosperity indicators for the period of the second and third centuries CE, the results suggest that in times of political stability and prosperity, Roman Empire emphasized moralizing deities on coins more often than in times of crisis. In contrast, martial deities and those oriented on dominating power were promoted on coins more frequently in turbulent times. In this small-scale case study, the results support the arguments of the affluence hypothesis.
Images of kings on traditional Indian architecture has been a neglected area of study. This paper aims to analyze royal images in the city of Vijayanagar and what they reveal about the interaction ...between political and religious powers. I contend that royalist iconography confirms and substantiates various aspects of political power and kingly traditions that demonstrates ways in which the king combined political authority and religious duty. It reveals the structure and dynamics of authority in new ways and forms in the kingdom of Vijayanagara.
The representations and evocations of the night, as a luminary and a divinity, seem to be codified, at least systematized in Greek art. The Night, Nyx, is a goddess which is mostly depicted in ...opposition to other personifications, such as the Sun or the Moon. The reasons must be search both in iconography and mythology. Moreover, the representations of the Night and the figures opposed to her (but at the same time complementary) are symbolic of a temporal and also geographical frame.
A Program of Complete Disorder Athanasopoulos, Charles
Lateral (Island Lake),
06/2021, Letnik:
10, Številka:
1
Journal Article
Recenzirano
Odprti dostop
This essay examines the scholarship of revolutionary theorist Frantz Fanon and the debate surrounding his conception of decolonization and “new humanism.” Across a multitude of fields, Black and ...cultural studies among them, Fanon has been heralded as an iconic thinker who offers us a path toward an alternative humanity. Working against the grain of this popular form of Fanonism, I suggest that there is a Black iconoclasm—a deep desire to unsettle the very rendering of a systematic path toward decolonization—that pervades Fanonian thought. Accordingly, the essay examines and unsettles various forms of Fanonism by suggesting that their teleological narratives of redemption ultimately end up serving anti-Fanonian pursuits. Through an extended meditation on Fanon’s claim that decolonization is “a program of complete disorder,” I explore what it might mean to embrace a Black iconoclastic approach to Fanon and the pursuit of Black liberation.
Since pre-history, humankind has relied on archetypes and myths to describe the ineffable and has made use of fictional and mythological narratives to understand the meaning of life and death. Dying ...and death are topics reluctantly discussed in open society. Yet, the global COVID-19 pandemic has drawn attention to the process of dying and death, and hence the survival of humankind. By embracing their finitude, humans attempt to create meaningful experiences in life and, therefore, attain “freedom towards death” (Heidegger, 1962: 311).
This paper investigates how South African artist Diane Victor uses universally known myths and symbols of Christian iconography within a South African context to create meaning, as well as how she uses medium and exhibition sites to evoke intense emotions within viewers urging them to consider their finitude. By recognising how fragile and vulnerable life is, the artist captures the ephemeral in a poignant way. In this paper, I argue that Victor embraces the challenge of consecrating the forgotten or lost. Through incorporating religious icons, signs, and symbols in her work, Victor ‘catches ghosts’ of the ‘seen’ and ‘unseen’ in, about, of and from South Africa. Her works are understood through a contemporary reading of religious (Christian) iconography and interpreted in the symbolic and fragile mediums of smoke, stain, ash, charcoal, light and shadow, emphasising the ephemerality and impermanence of the human condition.
El fotógrafo rural Wifredo López Vecino se ha convertido en el testigo gráfico por excelencia de la transformación geomorfológica del Vado de Alconétar, en el río Tajo a su paso por la provincia de ...Cáceres, en la década de los años 60. Más allá del documento gráfico que ofrecen sus imágenes, fue capaz de recrear de manera autodidacta una poética de la composición muy personal, que aplicó a sus retratos y a los paisajes. Entre estos últimos, una de sus fotografías más emblemáticas es la del "El joven saltador ante los puentes", de la que en el presente estudio se ofrece un detallado análisis iconográfico en consonancia con otras fotografías características de su producción y con otras obras de la tradición artística occidental y de la fotografía contemporáneas que constituyen referentes que permiten comprender el tratamiento de personas, paisajes y símbolos presentes en la imagen examinada.
The Bayeux tapestry is a masterpiece of the eleventh century and one of the most important
medieval documents in history. Through its embroidered images and texts in Latin, it narrates the
conquest ...of England by William the Conqueror in 1066. The main scene is framed by two panels, a lower
and an upper one, in which animals, plants, fables and different scenes are represented. Although, at first
glance, they seemed to be a purely ornamental element, their study reveals that they contain a large
number of symbolic elements that complete and add different nuances to the understanding of history.
They are a stage for the geniality of the artist, who uses them to show the originality of the design and the
technique used, so that each of the images represented is unique and different on their virtues and their defects, including as well as a subtle critique. Among the animals that populate these panels, the birds are
the ones that provide more expressiveness and complexity of meanings.
El tapiz de Bayeux es una obra maestra del siglo XI y uno de los documentos medievales más importantes de la Historia. Mediante imágenes bordadas y textos en latín, narra la conquista de Inglaterra por Guillermo El Conquistador en 1066. La escena principal está enmarcada por dos franjas, una superior y otra inferior, en la que aparecen representados animales, plantas, fábulas y escenas diversas. Aunque, en principio, parecían ser un elemento puramente ornamental, su estudio revela que contiene gran cantidad de elementos simbólicos que completan y añaden diversos matices a la comprensión de la historia. Son un escenario para el ingenio del artista, que las utiliza para mostrar la originalidad del diseño y de la técnica empleada, de forma que cada una de las imágenes representadas es única y diferente. Las criaturas aluden a la situación de los protagonistas de la historia principal, mostrando una reflexión sobre sus virtudes y sus defectos, así como una crítica sutil. Entre los animales que pueblan estas franjas son los pájaros los que aportan mayor expresividad y complejidad de significados.
Two manuscripts produced in early fourteenth-century German lands reflect similar iconography of the fighting with Sword and Buckler; one is the well-known fencing manual, Leeds, Royal Armouries, MS ...I. 33, produced ca. 1320, and the other is a Hebrew manuscript of the Bible, Paris, Bibliothèque nationale de France héb. 9, made in 1304, that will be the focus of this article. This preliminary research intends to demonstrate how Hebrew illuminated manuscripts can shed more light on the study of fight books iconography.
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