Muutke küpsiste eelistusi

E-raamat: Late Antique Portraits and Early Christian Icons: The Power of the Painted Gaze [Taylor & Francis e-raamat]

  • Formaat: 212 pages, 10 Halftones, color; 61 Halftones, black and white; 10 Illustrations, color; 61 Illustrations, black and white
  • Sari: Routledge Research in Art and Religion
  • Ilmumisaeg: 30-Jun-2022
  • Kirjastus: Routledge
  • ISBN-13: 9781003143109
  • Taylor & Francis e-raamat
  • Hind: 161,57 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 230,81 €
  • Säästad 30%
  • Formaat: 212 pages, 10 Halftones, color; 61 Halftones, black and white; 10 Illustrations, color; 61 Illustrations, black and white
  • Sari: Routledge Research in Art and Religion
  • Ilmumisaeg: 30-Jun-2022
  • Kirjastus: Routledge
  • ISBN-13: 9781003143109
"This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of 'sacred portrait' also produced during late antiquity, namely Roman imperial portraiture, Greco-Egyptian funerary portraiture and panel-paintings depicting non-Christian deities. Andrew Paterson addresses two fundamental questions about devotional portraiture - both Christian and non-Christian - in the late antique period. Firstly, how did artists visualise and construct these images of divine or sanctified figures? And secondly, how did their intended viewers look at, respond to, and even interact with these images? Paterson argues that a key factor of many of these portrait-imagesis the emphasis given to the depicted gaze, which invites an intensified form of personal encounter with the portrait's subject. The book will be of interest to scholars working in art history, theology, religion, and classical studies"--

This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which resemble three other well-established genres of ‘sacred portrait’ also produced during late antiquity, namely Roman imperial portraiture, Greco-Egyptian funerary portraiture and panel-paintings depicting non-Christian deities.

List of Figures
vii
Acknowledgements xiv
Introduction 1(19)
The Range of Material
2(6)
Questions of Methodology
8(2)
Working Definitions of Key Terms
10(10)
1 The Production of Sacred Portraits (i): Techniques and Stylistic Variation
20(39)
The Physical Format of the Framed Pinax
20(2)
Encaustic and Tempera Techniques
22(8)
The Use of Encaustic in the Mummy Portraits and Early Christian Icons
22(4)
The Use of Tempera in the Mummy Portraits and Fayum Portraits of Deities
26(4)
Stylistic Variation: Naturalism and Schematicism
30(21)
Hellenistic Naturalism
32(6)
Egyptian Schematicism
38(8)
Stylistic Contrasts within Single Images
46(3)
Distinctive Formal Aspects of the Sinai Icon of Christ Blessing
49(2)
Stylistic Choice and the Role of the Artist
51(8)
2 The Production of Sacred Portraits (ii): The Visualisation of the Prototype
59(46)
The Visualisation of Non-Christian Deities
59(3)
The Visualisation of Christian Saints
62(11)
Portraits of Isis and the Virgin Mary: Examples of Artistic Syncretism?
65(4)
Idealisation and the `Heavenly Likeness'
69(4)
The Visualisation of the Deceased in Roman Egypt
73(6)
The Visualisation of Roman Emperors
79(8)
The Visualisation of Christ
87(18)
3 The Reception of Sacred Portraits (i): Functions and Meanings of the Depicted Gaze
105(49)
Portraits of Non-Christian Deities
106(7)
Imperial Portraits
113(5)
Portrait Mummies
118(9)
Portraits of Saints
127(17)
Portraits of Christ
144(10)
4 The Reception of Sacred Portraits (ii): Reciprocal Looking and Spiritual Practice
154(35)
Image-Based Devotional Practice in the Context of Pilgrimage
155(3)
Theories of Visual Perception and Icon Veneration
158(3)
The Role of Images in Spiritual Practice (i): Plotinus
161(3)
The Role of Images in Spiritual Practice (ii): Early Monastic Teachings
164(6)
An Account of an Exchange of Gazes in Anagogical Prayer
170(2)
The Sinai icon of The Mother of God Enthroned with Warrior-Saints and Archangels: Anagogical Prayer as Spiritual Warfare
172(3)
Monastic Training and a Hierarchy of Looking
175(2)
The Use of Images at the Monastery at Mount Sinai in the Sixth Century
177(2)
The Spirituality of John Climacus and the Sinai Icon of Christ Blessing
179(10)
Conclusion 189(3)
Bibliography 192(16)
Index 208
Andrew Paterson is a Teaching Fellow at the University of Edinburgh.