Lord, When did We See You? Towards a Topography of the Visual

As it outlines a Christian topography of the visual, this article argues that the gaze cultivated by attention to art and the gaze of mercy bear important affinities, even if particular artworks exhibit tensions with mercy. Drawing on Augustine, Dionysius and Gregory of Nyssa, we argue that in this...

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Bibliographic Details
Authors: Carnes, Natalie (Author) ; Whelan, Matthew Philipp (Author)
Format: Electronic Article
Language:English
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Published: Wiley-Blackwell 2023
In: International journal of systematic theology
Year: 2023, Volume: 25, Issue: 2, Pages: 267-289
IxTheo Classification:CD Christianity and Culture
KAB Church history 30-500; early Christianity
KAJ Church history 1914-; recent history
KBR Latin America
NCA Ethics
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Summary:As it outlines a Christian topography of the visual, this article argues that the gaze cultivated by attention to art and the gaze of mercy bear important affinities, even if particular artworks exhibit tensions with mercy. Drawing on Augustine, Dionysius and Gregory of Nyssa, we argue that in this topography, the visual registers in multiple depths, which we explore through four distinct moments: seeing, seeing the excess, seeing the claim and seeing the divine. By analyzing the gaze of art and the gaze of mercy together with reference to artworks created during and about El Salvador’s civil war (1980–92) – the homilies of Óscar Romero, the poetry of Carolyn Forché and the visual art of Fernando Llort – we show that the gaze of art echoes and can prepare for the gaze of mercy, particularly in the first three moments, for which there are direct analogies between art and mercy’s gazes. There is no such direct analogy in the fourth moment of seeing the divine, yet even here there is a faint foreshadowing that connects art to mercy.
ISSN:1468-2400
Contains:Enthalten in: International journal of systematic theology
Persistent identifiers:DOI: 10.1111/ijst.12471