New Iconological Perspectives on Marble as Divinus Spiritus: Hermeneutical Change and Iconogenesis
Every work of art, every ‘iconization’ of a thought, every emotion that calls for visual expression, in short every ‘pact’, is made possible by the mystery of an invisibility that stoops to the flesh with ‘plasticity’ as its only goal. There is in fact no greater mystery imaginable than this process...
| Published in: | Louvain studies |
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| Main Author: | |
| Format: | Electronic/Print Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
[publisher not identified]
[2017]
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| In: |
Louvain studies
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| Standardized Subjects / Keyword chains: | B
Christian art
/ Marble
/ Pneumatology
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| IxTheo Classification: | CE Christian art NBG Pneumatology; Holy Spirit |
| Further subjects: | B
Christian icons
B Hebrew language Terms Ruaḥ B Art, Christian B Peer reviewed B Manuscripts, Medieval B Hagia Sophia (Istanbul, Turkey) B Image (Theology) B Incipits B Marble B Illumination of books and manuscripts |
| Online Access: |
Volltext (doi) |
| Summary: | Every work of art, every ‘iconization’ of a thought, every emotion that calls for visual expression, in short every ‘pact’, is made possible by the mystery of an invisibility that stoops to the flesh with ‘plasticity’ as its only goal. There is in fact no greater mystery imaginable than this process that has given Western art history a discourse about descent into matter, about circumscription, about skin, about bodily fluids. This descent I call iconogenesis. In this essay I discuss three aspects of Iconogenesis as a phenomenon attached to marble: the Incipit miniatures in early-medieval illumination, the marble as ekphrasis (in particular in the Hagia Sophia of Constantinople), and marble as cosmic space. |
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| ISSN: | 0024-6964 |
| Contains: | Enthalten in: Louvain studies
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| Persistent identifiers: | DOI: 10.2143/LS.40.1.3206243 |