Contesting the logic of painting : art and understanding in eleventh-century Byzantium
Author(s)
Bibliographic Information
Contesting the logic of painting : art and understanding in eleventh-century Byzantium
（Visualising the Middle Ages, v. 2）
Brill, 2007
Available at / 5 libraries
-
No Libraries matched.
- Remove all filters.
Note
Includes bibliographical references (p. [165]-175) and index
Description and Table of Contents
Description
Studies of the icon in Byzantium have tended to focus on the iconoclastic era of the eighth- and ninth-centuries. This study shows that discussion of the icon was far from settled by this lengthy dispute. While the theory of the icon in Byzantium was governed by a logical understanding that had limited painting to the visible alone, the four authors addressed in this book struggled with this constraint. Symeon the New Theologian, driven by a desire for divine vision, chose, effectively, to disregard the icon. Michael Psellos used a profound neoplatonism to examine the relationship between an icon and miracles. Eustratios of Nicaea followed the logic of painting to the point at which he could clarify a distinction between painting from theology. Leo of Chalcedon attempted to describe a formal presence in the divine portrait of Christ. All told, these authors open perspectives on the icon that enrich and expand our own modernist understanding of this crucial medium.
Table of Contents
List of Illustrations . . . ix
Foreword . . xi
Acknowledgements . . xv
List of Abbreviations . . xvii
Chapter One The Synodikon of Orthodoxy and the Ground of Painting . .. 1
Chapter Two Symeon the New Theologian: Seeing Beyond Painting . . 23
Chapter Three Michael Psellos: Seeing Through Painting . . 61
Chapter Four Eustratios of Nicaea and the Constraints of Theology . 99
Chapter Five Leo of Chalcedon, Euthymios Zigabenos and the Return to the Past . . 131
Afterword . 159
Bibliography . .. 165
Index . . . 177
by "Nielsen BookData"
