By Henry Maguire
During this interdisciplinary research, Henry Maguire examines the effect of numerous literary genres and rhetorical innovations at the visible arts of Byzantium. specifically, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, kind, and association in their paintings. utilizing provocative fabric formerly unusual to paintings historians, he concentrates on spiritual paintings from a.d. 843 to 1453. during this interdisciplinary examine, Henry Maguire examines the impression of numerous literary genres and rhetorical innovations at the visible arts of Byzantium. specifically, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, kind, and association in their paintings. utilizing provocative fabric formerly unexpected to artwork historians, he concentrates on non secular paintings from a.d. 843 to 1453.
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Additional resources for Art and Eloquence in Byzantium
The latter may turn out to be signs of the former only because each have their determination in the same tertium quid – the quality of the blood. 19. This is not to deny that there is a division in Plato between the transcendent, intellectual realm and the merely visible. The world in the Timaeus is an image of god; god is more beautiful. In the au-delà of the Symposium, we find a consummation in the realm of the ‘sciences’ and the form of the beautiful which we could not find in the sensible world or through the senses at all (211e).
Once again, however, the critique needs to be set in its appropriate wider context. Whereas for Platonism this involves a higher/lower or up–down model; for Christianity (at least on this issue), more important is the horizontal or lateral perspective: the backward and forward projection of history. Backwards lies the Garden of Eden, and Adam and Eve placed in a bodily Paradise. 8 In what follows, I should like to alert the reader to that wider vision as the broader framework for interpreting what is in any case a complex history.
The Bridgeman Art Library] Suffering The other major objection against Christianity pulls in quite the opposite direction. If its attitude to sexuality suggests a religion that appears to disdain the body, its approach to suffering conjures up an almost masochistic preoccupation with the body, most obviously in gruesome depictions of the Crucifixion but also in injunctions to emulate such suffering in various ascetic practices. Francis Bacon’s paintings might be said to be the natural culmination of such a heritage, despite his atheism.
Art and Eloquence in Byzantium by Henry Maguire