Drawing on a number of philosophical and theological writings produced in eleventh-century Byzantium, this e-book bargains a analyzing of the icon and Byzantine aesthetics that not just expands our realizing of those issues yet demanding situations our assumptions in regards to the murals itself.
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Extra resources for Contesting the Logic of Painting
The SYNODIKON OF ORTHODOXY and the ground of painting 15 superÀcial knowledge. 68 This then leads to the second issue raised in this phrase, which is the relation between icons and the economy of salvation. Iconoclasts had offered a very spiritual and verbal account of salvation, in which the words of the Gospel narrative were to impress themselves upon the heart of the believer and raise them towards their salvation. Iconophiles argued that such a model ignored the importance of the incarnation as a moment when such salvation became assured.
The dates are suggested by Symeon’s appearance in a vision to Niketas some Àfteen years after his death on order to enquire after this work and the date of the translation of Symeon’s relics. A useful introduction to Niketas is to be found at Jean Darrouzès, Nicétas Stéthatos, Opuscules et lettres, Sources Chrétiennes 81 (Paris: Éditions du Cerf, 1961), 7–39. 7 Hausherr, Vie: xvf. 8 Golitzin, Symeon the New Theologian: 22. 9 Jean Gouillard, “Constantine Chrysomallos sous le masque de Syméon le Nouveau Théologien,” Travaux et Mémoires 5 (1973): 313–327; Jean Gouillard, “Quatre procès de mystique à Byzance (vers 960–1143),” Revue des Études Byzantines 36 (1978): 5–81.
133; Golitzin, On the Mystical Life, vol. 1: 24–26. 31; Golitzin, On the Mystical Life, vol. 1: 27. 52–54; Golitzin, On the Mystical Life, vol. 1: 28. 8–18; Golitzin, On the Mystical Life, vol. 1: 31. 94–96; Golitzin, On the Mystical Life, vol. 1: 34. ”18 This is a somewhat paradoxical proposition. For, while the incarnation has allowed one to see God incarnate in Christ, the vision that is presented by Symeon is one that surpasses the normal constraints on human perception. Such that what is seen has no physical limits and can only be understood as formless light.
Contesting the Logic of Painting by Barber;C.E.