IKON
Volume 15, Issue 1, 2022
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Unveiling the Other: Art, Images, and Cultures
show More to view fulltext, buy and share links for:Unveiling the Other: Art, Images, and Cultures show Less to hide fulltext, buy and share links for: Unveiling the Other: Art, Images, and CulturesAbstractThis paper is dedicated to Aby Warburg’s 1920-essay on the relationship between the Italian Renaissance and the German Renaissance in the period of the Reformation. His essay focuses on the use of propagandistic imagery at the time of Luther, in order to elucidate a historical-political and religious problem that Warburg explored against the background of the contemporary cultural debate between Germany and Italy in the years from 1915 to 1920. This was a period traumatically experienced by Warburg, and it led him to reflect, from a different perspective, on his own research focused on the “Survival of Antiquity” (Das Nachleben der Antike), in the rapport between Italian art and the art of northern Europe. It had a notable impact on his studies on the migration from East to West of the astrological tradition, presented between magic and mathematics, that permeated the religious debate of Luther’s time in and beyond Germany, in the cultural and religious clash with the Church of Rome.
AbstractRazotkrivanje Drugog: umjetnost, slike i kulture
Ovaj rad posvećen je eseju Abyja Warburga iz 1920. godine o odnosu talijanske i njemačke renesanse u razdoblju Reformacije. Njegov se esej usredotočuje na korištenje propagandnih slika u vrijeme Luthera, kako bi razjasnio povijesno-politički i religijski problem koji je istraživao u pozadini suvremene kulturne rasprave između Njemačke i Italije u godinama od 1915. do 1920. godine. To je razdoblje Warburg traumatično doživio, a ono ga je navelo da, iz drugačije perspektive, promisli o vlastitom istraživanju usredotočenom na “Nasljedovanje antike” (der Nachleben der Antike), u odnosu između talijanske umjetnosti i umjetnosti sjevera Europe. To je značajno utjecalo na njegove studije o migraciji astrološke tradicije s istoka na zapad, živućoj između magije i matematike, koja je prožimala vjerske rasprave Lutherovog vremena u i izvan Njemačke, u kulturnom i vjerskom sukobu s Rimskom Crkvom.
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Otherness on the Hereford World Map (c. 1300)
show More to view fulltext, buy and share links for:Otherness on the Hereford World Map (c. 1300) show Less to hide fulltext, buy and share links for: Otherness on the Hereford World Map (c. 1300)AbstractThis study examines the Hereford World Map (c. 1300) in relation to modern theoretical concepts of Otherness and marginality to expose disjunctions between medieval and modern ideologies. As an authoritative synthesis of Classical geographical learning and Christian theological beliefs, the landmasses, islands, and waterways of the Hereford Map are populated by hundreds of tiny icons and inscriptions that represent the world’s cities, biblical and mythological characters, animals, birds, monsters, and more. Among these are many identifiable Others, whose cartographical locations do not fit easily into modern theoretical frameworks but rather signal more complex relationships between Us and Them, and between centre and periphery; especially in England, where the Map was made and displayed. Moreover, Otherness on the Hereford Map is performed not only by the usual actors - the so-called Monstrous Races and non-Christian outgroups-but also by the divine personages dispensing justice in the celestial space depicted at its summit. My analysis of selected imagery reveals that certain of the Map’s figures and places commonly identified by modern critics as marginal in fact lay at the conceptual centre of medieval Christian identity. Moving away from the centre - margins paradigm, I also examine how medieval cartographical strategies of alignment, juxtaposition, and directionality enhanced the work’s didactic value for medieval pilgrims, and I identify examples of lessons that were retrievable with or without the assistance of cathedral guides acting as interpretative intermediaries. I conclude that the presence of Others on the Hereford Map helped medieval viewers locate themselves in its geographical spaces and in its Christian worldview, which suggests that the theoretical concept of Otherness remains a viable tool for expanding our understanding of the cultural and ideological complexities of medieval mappae mundi.
Abstract„Drugi” na Herefordskoj karti svijeta
Ovaj rad analizira Herefordsku kartu svijeta (oko 1300.) u okviru suvremenih teorijskih koncepata Drugosti i marginalnosti kako bi se pokazala razlikovnost između srednjovjekovnih i modernih ideologija. Kao autoritativna sinteza klasičnog geografskog učenja i kršćanskih teoloških uvjerenja, kopno, otoci i vodeni putovi Herefordske karte su napućeni stotinama sićušnih ikona i natpisa koji prikazuju svjetske gradove, biblijske i mitološke likove, životinje, ptice, čudovišta i drugo. Među njima su mnogi Drugi koji se mogu identificirati, ali čije se kartografske lokacije ne uklapaju lako u moderne teorijske okvire, već signaliziraju složenije odnose između Nas i Njih, te između središta i periferije, posebno u Engleskoj, gdje je karta napravljena i prikazana. Drugost na Herefordskoj karti ne nose samo uobičajeni akteri - takozvane „monstruozne rase“ i nekršćanske skupine - već i božanske osobe koje dijele pravdu u nebeskom prostoru prikazanom na njegovom vrhu. Analiza odabranih prikaza otkriva da određeni likovi i mjesta na karti, koje su moderni kritičari obično identificirali kao marginalna, leže u konceptualnom središtu srednjovjekovnog kršćanskog identiteta. Udaljavajući se od paradigme središte-margina, također se istražuje kako su srednjovjekovne kartografske strategije poravnanja, suprotstavljanja i usmjerenosti poboljšale didaktičku vrijednost djela za srednjovjekovne hodočasnike, te se identificiraju primjeri lekcija koje su se mogle odvijati uz pomoć ili bez pomoći katedralnih vodiča kao interpretativnih posrednika. Zaključuje se da je prisutnost Drugih na Herefordskoj karti pomogla srednjovjekovnim gledateljima da se lociraju u njene geografske prostore i kršćanski svjetonazor, što utječe na to da teorijski koncept Drugosti ostaje održivo oruđe za proširenje našeg razumijevanja kulturne i ideološke složenosti srednjovjekovnih mappa mundi.
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The Visibility of the Pagans: Transformation and Dissemination of an Undervalued Ancient Motif in Northern European Medieval Art
show More to view fulltext, buy and share links for:The Visibility of the Pagans: Transformation and Dissemination of an Undervalued Ancient Motif in Northern European Medieval Art show Less to hide fulltext, buy and share links for: The Visibility of the Pagans: Transformation and Dissemination of an Undervalued Ancient Motif in Northern European Medieval ArtBy: Iris GröteckeAbstractAt first glance, religious alterity - in contrast to other concepts of alterity - is not as comprehensively represented in medieval visual arts as it was perceived and discussed by contemporaries. However, in addition to the conspicuous and well-researched development of the Jewish hat, more signs for the visual display of religious difference from Christianity developed during the same period. This essay is devoted to one of these signs, the winged head, which has been little studied and whose semantics are largely underestimated. The geographically wide distribution of the winged head in Northern Europe in the period from about 1200 to 1500 and its meaning as an attribute of pagan belief are outlined. The reshaping of ancient mythological representations with bird’s wings into a medieval symbol can be understood as an appropriation of Antiquity and a creative invention of new signs by medieval artists. The use of the winged head in very different subjects demonstrates that, from the perspective of medieval northern Europeans, paganism remained a flexible concept that did not in every case focus on the contemporary confrontation with Islam, but could designate individuals in geographically, culturally, and chronologically different situations.
AbstractVidljivost pogana: transformacija i širenje jednog podcijenjenog antičkog motiva u srednjovjekovnoj umjetnosti sjeverne Europe
Na prvi pogled, religijska različitost nije tako sveobuhvatno zastupljena u srednjovjekovnoj vizualnoj umjetnosti kako se može zaključiti iz povijesno-umjetničke literature. Osim uočljivog i dobro istraženog židovskog šešira, u istom se razdoblju razvilo više motiva za vizualni izraz vjerske različitosti od kršćanstva. Ovaj esej posvećen je jednom od ovih motiva - glavi s krilcima, koja je malo proučavana i čija je simolika uvelike podcijenjena. Ocrtava se zemljopisno široka rasprostranjenost ovoga motiva u sjevernoj Europi u razdoblju od oko 1200. do 1500. godine i njezino značenje kao atributa poganske tradicije. Preoblikovanje antičkih mitoloških prikaza s ptičjim krilima u srednjovjekovni simbol može se shvatiti kao kreativno prisvajanje antike i kreativni izum srednjovjekovnih umjetnika. Korištenje glave s krilcima u vrlo različitim temama pokazuje da je u srednjovjekovnoj sjevernoj Europi poganstvo ostalo fleksibilan koncept, koji se nije uvijek referirao na suvremeni sukob s islamom, već je mogao označavati pojedince u zemljopisno, kulturološki i kronološki različitim kontekstima.
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An Inquiry into the Image of Jews in 15th-Century Istria: The Iconography of the Jewish-Christian Dispute
show More to view fulltext, buy and share links for:An Inquiry into the Image of Jews in 15th-Century Istria: The Iconography of the Jewish-Christian Dispute show Less to hide fulltext, buy and share links for: An Inquiry into the Image of Jews in 15th-Century Istria: The Iconography of the Jewish-Christian DisputeAuthors: Ivana Čapeta Rakić and Giuseppe CapriottiAbstractThe external features of religious Otherness in Christian iconography have long been known and specified. In the late Middle Ages, numerous paintings were created on the Istrian peninsula in which the external features, predominantly those of the Jews, can be recognized. In this preliminary research, we recognized such attributes on the frescoes in Pazin, Lindar, Lovran, Beram, Gračišće, Svetvinčenat, Pićan and Vižinada. Comprehensive research on this topic in the aforementioned territory, however, has yet to be conducted. In this essay the focus of our research is directed towards Lindar, Beram and Vižinada, with a special emphasis on the topics of Disputes of Christians and Jews in the iconography of painted narratives. In the church of St Catherine in Lindar a very complex iconography of the Living Cross can be found between the personifications of the Church and the Synagogue. These topics emerged from a treatise attributed to St Augustine, in which the Christian truths contrast with Jewish traditions. In Beram and Vižinada the theme of the Jewish-Christian dispute is visualized through the iconography of Christ among the Doctors, in which the painters intensify the expressions of disagreement and confusion of the Jews, represented by means of specific clothes and gestures. At the same time, we will endeavor to explore and explain the emergence and the presence of these topics within the geopolitical context.
AbstractIzabrani primjeri prikaza Židova u Istri u 15. stoljeću unutar ikonografije židovsko-kršćanskog spora
U kasnom srednjem vijeku nastala su brojna slikarska djela u Istri na kojima se prepoznaju razlikovni atributi religijskih Drugih, primarno Židova. To se ponajprije očituje u židovskom šeširu, kao najčešćem atributu Židova u kršćanskoj ikonografiji, ali i u nekim drugim motivima poput škorpiona, fizičkih deformacija ili metaforičke sljepoće. U ovom preliminarnom istraživanju takvi su motivi prepoznati na lokalitetima u Pazinu, Lindaru, Lovranu, Bermu, Gračišću, Svetvinčentu, Pićnu i Vižinadi. Slijedom toga, razvidna je potreba da se freske na navedenim lokalitetima obrade sveobuhvatnom ikonografskom studijom. Interes je u ovome tekstu usmjeren na lokalitete u Lindaru, Bermu i Vižinadi. Pritom je poseban naglasak dat temama spora između kršćana i Židova u ikonografiji slikarskih narativa. Prvi dio teksta odnosi se na razmatranje ikonografski kompleksne freske u crkvi svete Katarine u Lindaru koju poznajemo pod nazivom Živi križ. Premda je freska više puta obrađena u dosadašnjoj historiografiji, u hrvatskoj publicistici se do sada negirala njezina protužidovska poruka, a podjednako nije bila sagledana u kontekstu evolucije antitetičkog odnosa dviju prikazanih personifikacija kao ni razvoja njihovih specifičnih atributa. Uz niz komparativnih europskih primjera u tekstu se također razmatraju i literarni predlošci koji su utjecali na oblikovanje teme, odnosno srednjovjekovni traktati koji za okosnicu imaju verbalni duel između Crkve i Sinagoge poput De altercatione ecclesiae et synagogae Dialogus, pogrešno pripisanog Svetom Augustinu. Rasprava između kršćanstva i judaizma je također predmet interesa drugog dijela teksta koji je posvećen ikonografskoj temi Disputa u hramu, a koja se nalazi u kontekstu kristoloških ciklusa u crkvi svete Marije na Škriljinah u Bermu te u crkvi sv. Barnabe u Vižinadi. Tema se također razmatra u komparativnom odnosu prema europskim primjerima. Ukazuje se na to kako promjenom načina prikazivanja židovskih pismoznanaca i njihovih atributa, tema može biti predstavljena na neutralan način ili na način da sugerira protužidovski kontekst. U prilog potonjoj tezi izdvajaju se ekspresivne geste pismoznanaca, koji ne pronalaze odgovore u svojim knjigama slijedom čega ih trgaju, bacaju na tlo ili čak jedu. Te su slike konceptualno i vizualno slične tradicionalnoj ikonografiji teološkog spora, pri čemu knjige heretičara padaju zajedno s njima na tlo. U prilog protužidovskom ozračju istarskih fresaka govori i njihova recepcija od suvremenih promatrača, koja je zabilježena u grafitima koje su u freske urezivali domicilni stanovnici nazivajući židovske pismoznance pogrdnim imenima. Arhivski dokumenti za sada ne daju odgovore na pitanja židovske prisutnosti u unutrašnjosti istarskog poluotoka, no simptomatično je da se freske protužidovske ikonografije nalaze na teritoriju Istre koji je bio pod vlašću Habsburga, a njihov netoleratnan stav prema Židovima dobro je poznat i dokumentiran u povijesti.
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Otherness in Medieval Document Decoration
show More to view fulltext, buy and share links for:Otherness in Medieval Document Decoration show Less to hide fulltext, buy and share links for: Otherness in Medieval Document DecorationBy: Nataša KavčičAbstractThe following paper draws attention to certain images in medieval documents that, despite their minor artistic value, may be seen as records of the social standing of different minorities living in the environment from which a particular document originates. The aim of this text is to contribute to the sparsely researched neutral and positive depictions of the Other in medieval art and point to some oversights made in the past. It will be stressed that certain depictions of the religious Other found in medieval secular documents may be seen as positive or at least neutral from the religious point of view, while also highlighting the issue of theological beliefs not necessarily playing a central role when it comes to decorating legal documents. This particular approach is especially significant when considering the fact that the studies that do exist concentrate largely on the pejorative aspects of such representations. The underlying theme of this text is thus the discussion of whether thinking of anti-Semitism is in fact justifiable in the case of ornamentation of written objects with secular contents. It is not a profound analysis of a single unit, but rather a presentation of the pertinent examples found in the extensive charter corpus published thus far at monasterium.net. Special attention is given to three documents issued in Speyer in the middle of the 14th century, which show Jewish faces stemming from the initial letters. The existence of the Jewish community in Speyer is well attested to in archival sources and it represents one of the most important Jewish settlements on the Rhine. This makes the three charters especially instructive examples when discussing the depictions of the religious Other in secular documents and the span of their possible meanings.
AbstractDrugost u ilustracijama srednjovjekovnih dokumenata
Ovaj rad skreće pozornost na određene ilustracije u srednjovjekovnim dokumentima koje se, unatoč skromnoj umjetničkoj vrijednosti, mogu promatrati kao izvori za poznavanje društvenog položaja različitih manjina na prostoru iz kojeg potječe pojedini dokument. Cilj je ovog teksta pridonijeti slabo istraženim prikazima Drugog u srednjovjekovnoj umjetnosti. Naglasit će se kako se određeni prikazi religijskog Drugog, koji se nalaze u srednjovjekovnim svjetovnim dokumentima, mogu smatrati pozitivnim ili barem neutralnim s religijskog stajališta, te da teološko uvjerenje ne mora nužno imati centralno značenje u ukrasima pravnih dokumenata. Ovaj pristup posebno je značajan kada se uzme u obzir činjenica da se postojeće studije uglavnom usredotočuju na pejorativne aspekte takvih prikaza. Temeljna tema ovog teksta, stoga, je rasprava o tome je li razmišljanje o antisemitizmu opravdano u slučaju ornamentiranja pisanih dokumenata svjetovnog sadržaja. Ne donosimo ovdje temeljite pojedinačne analize, već prikaz relevantnih primjera koji se nalaze u opsežnom korpusu povelja, objavljenom na monasterium.net. Posebna se pozornost posvećuje trima ispravama izdanima u Speyeru sredinom 14. stoljeća u kojima su prikazana židovska lica unutar početnih slova. Speyer je naselje s jednom od najvećih i najvažnijih židovskih zajednica na Rajni, o čemu svjedoče arhivski izvori. Tri povelje posebno su poučni primjeri unutar rasprave o prikazima religijskog Drugog u svjetovnim dokumentima i rasponu njihovih mogućih značenja.
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Visualising Sexual Otherness in the Late Medieval Eastern Christian Monasteries
show More to view fulltext, buy and share links for:Visualising Sexual Otherness in the Late Medieval Eastern Christian Monasteries show Less to hide fulltext, buy and share links for: Visualising Sexual Otherness in the Late Medieval Eastern Christian MonasteriesBy: Jakov ĐorđevićAbstractLife in a medieval monastery was conceptually conceived as the path toward achieving angelic likeness. The practices of bodily mortification were employed in attaining the genderless and passionless nature of angels. Alongside discussion on the performativity of the non-binary character of monastic gender and desired asexuality, the aim of this paper is to show that certain pictorial representations were able to encourage this fashioning of the monastic Self by offering the image of sexual Other in their contemplative encounter with the monk. The argument is presented through the analysis of three case studies: (1) the monumental figures of alluring nude sinners from the Sopoćani Monastery; (2) the gruesome painted “relief” of the condemned from the Gračanica Monastery; (3) and the unusual representations of two demons depicted in the sanctuary of the church at Marko’s Monastery.
AbstractPrikazi seksualnog Drugog“ u kasnosrednjovjekovnim manastirima Istočne Crkve
Život u srednjovjekovnom manastiru konceptualno je osmišljen kao put ka postizanju anđeoske prirode otjelovljene u dva ideala: asomata (bestjelesnost) i apatheia (bestrašće). Ova je monaška težnja potakla nadvladavanje jednostavne binarne rodne podjele i gašenje tjelesnih nagona. Stoga su se monasi služili metodama mučenja tijela kako bi postigli svoj cilj. Oslanjajući se na teorijski okvir konstruiranja Drugosti, ovaj rad razmatra određene likovne primjere koji su se koristili u oblikovanju monaškog bistva kroz prezentaciju slike seksualnog Drugog. U radu se raspravlja o tome kako je naglašeno dočaravanje tjelesnosti, kroz prikaze nagih figura grješnika na prikazima Strašnog suda, bilo temeljno obilježje seksualne Drugosti. Štoviše, dodjeljujući tjelesnost i muškim i ženskim likovima povezanim s grijesima karakterističnima za društvo laika, laici su označeni kao seksualni Drugi u monaškome kontekstu. U odnosu prema njima monasi su bili u stanju odrediti svoje kolektivno zamišljeno biće, oslobođeno posljedica pada Adama i Eve.
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Demonizing the Aggressors: Russian Icons of The Battle of Novgorodians against Suzdalians
show More to view fulltext, buy and share links for:Demonizing the Aggressors: Russian Icons of The Battle of Novgorodians against Suzdalians show Less to hide fulltext, buy and share links for: Demonizing the Aggressors: Russian Icons of The Battle of Novgorodians against SuzdaliansBy: Dmitriy AntonovAbstractThis paper discusses the role of details and minor figures in Russian medieval iconography. Studying an icon of The Battle of Novgorodians against Suzdalians, painted in the middle of the 15th century, the author reveals small visual elements that helped the artist(s) to blame and demonize the aggressors of the distant past. Combining details, the icon-painter enriched the image with many important nuances. However, tiny visual elements were hardly noticeable and clear to the viewers. The author analyses absurd figures that appeared in different icons as the result of the painters’ mistakes (the pagans with halos, the black angel) to ensure that little details normally remained unnoticed by parishioners and priests. This leads to the more general question about the possible recipient of the visual ‘micro-text’ and the role of details for the icon-painters.
AbstractDemoniziranje agresora: ruske ikone Bitke između Novgorodaca i Suzdaljaca
Rad je usmjeren na analizu uloge detalja i sporednih likova u ruskoj srednjovjekovnoj ikonografiji. Proučavajući ikonu Bitka između Novgorodaca i Suzdaljaca, nastalu sredinom 15. stoljeća, autor otkriva sitne likovne elemente koji su pomogli umjetnicima da okrive i demoniziraju agresore davne prošlosti. Kombinirajući detalje, koji su bili jedva uočljivi i razumljivi gledateljima, ikonopisac je sliku obogatio mnogim važnim nijansama značenja. Autor analizira besmislice koje se pojavljuju na različitim ikonama kao rezultat pogrešaka slikara (pogani s aureolama, crni anđeo) te pokazuje kako su ti sitni detalji obično ostali neprimjećeni od strane župljana i svećenika. To dovodi do općenitijeg pitanja o mogućem adresatu vizualnog “mikroteksta” i ulozi detalja za ikonopisce.
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Pagan Otherness in the Christian Church Iconography of Ancient Philosophers and Intellectuals in Russia and the Balkans
show More to view fulltext, buy and share links for:Pagan Otherness in the Christian Church Iconography of Ancient Philosophers and Intellectuals in Russia and the Balkans show Less to hide fulltext, buy and share links for: Pagan Otherness in the Christian Church Iconography of Ancient Philosophers and Intellectuals in Russia and the BalkansBy: Sergei ZotovAbstractThe Russian Orthodox iconography of ancient philosophers and thinkers has long attracted Western and Russian researchers. Greek and Roman philosophers depicted in Russian churches and in other visual sources have almost nothing in common with real historical philosophers: their images were based on Byzantine Apocrypha, in which philosophers were presented as righteous pagans, proclaiming the coming of Christ long before his birth. The author introduces for the first time three new sources, two of which - tempera paintings from the 18th century with Hermes and Aphrodite, and frescoes from the 17th century carved from the walls of the Moscow Novospassky monastery with images of Aristotle, Solon, Plutarch, and Anacharsis - are kept in the State Historical Museum in Moscow, and another illustrated 17th-century collection of aphorisms of the Hellenic sages named Melissa, is in the collections of the Russian National Library in St Petersburg. The author establishes a typology of all the ancient philosophers (as they were called in sources) found in Russian Orthodox iconography, dividing them into four groups: historical philosophers, historical intellectuals, sibyls, and gods. Thereafter, the text analyses the meaning of visual markers of Otherness that are present in all samples of the studied array of iconography. It is assumed that the meaning of such visual markers was that they showed the viewer the Hellenic sages as the Other. Ancient philosophers and intellectuals were presented as pagans from the East, since it was necessary to visually separate them from the real saints recognized by the Orthodox Church. Even though all of them were credited with prophecies about the rise of Christianity, the primary role of the above attributes was the visual differentiation of pagan philosophers from Orthodox saints.
AbstractPoganska Drugost u kršćanskoj Crkvi: ikonografija antičkih filozofa i mislilaca u Rusiji i na Balkanu
Ruska pravoslavna ikonografija antičkih filozofa i mislilaca dugo je u fokusu zanimanja zapadnih i ruskih istraživača. Grčki i rimski filozofi prikazani u slikama u ruskim crkvama i drugim vizualnim medijima nemaju gotovo ništa zajedničko sa stvarnim povijesnim filozofima: njihovi su se prikazi temeljili na bizantskim apokrifima, u kojima su filozofi bili predstavljeni kao pravedni pogani, naviještajući Kristov dolazak mnogo prije njegova rođenja. Autor u ovome radu uvodi tri nova izvora za istraživanje teme: slike u temperi iz 18. stoljeća s prikazima Hermesa i Afrodite, te freske iz 17. stoljeća skinute sa zidova moskovskog Novospaskog samostana s prikazima Aristotela, Solona, Plutarha i Anarhasisa, čuvaju se u Državnom povijesnom muzeju u Moskvi, dok se jedna ilustrirana zbirka aforizama helenskih mudraca iz 17. stoljeća (Melissa) nalazi u zbirci Ruske nacionalne knjižnice u Sankt Peterburgu. Autor u tekstu uspostavlja tipologiju antičkih filozofa (kako su ih nazivali u izvorima) koji se nalaze u ruskoj pravoslavnoj ikonografiji, dijeleći ih u četiri skupine: povijesni filozofi, povijesni mislioci, sibile i božanstva. Potom se u tekstu analizira značenje vizualnih oznaka Drugosti u primjerima proučavanog ikonografskoga niza. Pretpostavlja se da su ovi vizualni markeri gledatelju prikazivali helenske mudrace kao Druge. Antički filozofi i mislioci predstavljeni su kao pogani s Istoka, jer ih je bilo potrebno vizualno odvojiti od pravih svetaca prihvaćenih od Pravoslavne Crkve. Iako se svima njima priznaje zasluga u proricanju uspona kršćanstva, primarna je uloga korištenih atributa bila vizualna diferencijacija poganskih filozofa od pravoslavnih svetaca.
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Martyrdom and the Visual Production of Otherness in Europe, 1450-1650
show More to view fulltext, buy and share links for:Martyrdom and the Visual Production of Otherness in Europe, 1450-1650 show Less to hide fulltext, buy and share links for: Martyrdom and the Visual Production of Otherness in Europe, 1450-1650AbstractIn Christian thought and imagination, martyrdom is a fundamental expression of religious belief. During the Early Modern wars of religion and in an age of conflictive relationships between Europeans and their Eastern neighbors, biblical martyrdom, and in particular infant martyrdom, was used as a metaphor to represent contemporary killings and massacres. This article studies representations of real massacres as scenes of martyrdom in early modern Europe during two centuries that go from the fall of Constantinople to the Thirty Years’ War. The text starts with a brief description of the iconography of martyrdom that emerged at the end of the Middle Ages and soon after became topical. Next it discusses the use of this iconography to represent massacres in realistic, propagandistic, and artistic imagery. It also discusses the construction of identities based on the display of innocence and victimhood, and the emergence of a religious Other (Muslim, Catholic, and Protestant in each respective case) imagined as cruel and barbaric.
AbstractMučeništvo i vizualizacija Drugosti u Europi od 1450. do 1650.
U kršćanskoj misli i imaginaciji, mučeništvo je temeljni izraz religijskog vjerovanja. Tijekom ranonovovjekovnih religijskih ratova i u doba konfliktnih odnosa između Europljana i njihovih istočnih susjeda, biblijsko mučeništvo, a posebno mučeništvo male djece, korišteno je kao metafora za predstavljanje suvremenih ubojstava i pokolja. Ovaj članak proučava prikaze stvarnih pokolja kao prizora mučeništva u ranoj modernoj Europi tijekom dva stoljeća: od pada Carigrada do Tridesetogodišnjeg rata. Tekst počinje kratkim opisom ikonografije mučeništva koja je nastala krajem srednjeg vijeka i ubrzo postala često korištena. Zatim se raspravlja o uporabi ove ikonografije za prikaze masakra u realističkim, propagandističkim i umjetničkim slikama. Također se raspravlja o izgradnji identiteta temeljenih na prikazima nevinih i žrtava, te o pojavi religijskog Drugog (muslimana, katolika i protestanata u zasebnim primjerima) zamišljenog kao okrutnog i barbarskog.
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Visual (Mis)Representations of Islam and the Prophet Muhammad
show More to view fulltext, buy and share links for:Visual (Mis)Representations of Islam and the Prophet Muhammad show Less to hide fulltext, buy and share links for: Visual (Mis)Representations of Islam and the Prophet MuhammadAbstractThe European representation of Islam, especially from the Middle Ages to the Early Modern Age, but also in our times, could in a certain way be classified within what the anthropologist Donald E. Brown (followed by Steven Pinker) calls “human universals”. Belief in the supernatural, along with fear, judgment of Others or self-image form some of the universal frameworks that have made the representation of Islam familiar throughout the world. The repetition of certain elements associated with Islam, its prophet and its society have created a prevalent image that in many respects has replaced reality. This phenomenon can be seen in a particular mindset in the representations of the Prophet Muhammad. Not all these representations are the same and not all participate fully in these traits, but the vast majority are loaded with negative connotations. This fear/ hate of Islam has meant that the more ‘neutral’ or ‘positive’ representations of Muhammad have gone quite unnoticed by the mainstream of distrust of a prophet who challenged the most classical religious beliefs in European history. Many of these representations will be discussed in this essay, in an effort to demonstrate the complexities of going from the representation of the unknown to the representation of the untrustworthy.
AbstractVizualni prikazi Islama i proroka Muhameda
Način na koji je Europa prikazivala Islam, ponajprije u srednjem i ranom novom vijeku, ali i danas, mogao bi se na određeni način svrstati u ono što antropolog Donald E. Brown (a nakon njega i Steven Pinker) naziva „ljudskim univerzalijama”. Vjerovanje u nadnaravno, strah, osuda Drugih i stvaranje slike o sebi, čine neke od univerzalnih okvira koji su prikaze Islama učinili poznatima u cijelome svijetu. Ponavljanje određenih elemenata povezanih s Islamom, njegovim poslanikom i njegovim društvom stvorilo je vrlo raširenu sliku koja je u mnogim aspektima zamijenila stvarnost. Ovaj fenomen se može vidjeti u prikazima proroka Muhameda. Iako svi prikazi nisu jednaki niti se u svima pojavljuju iste osobine, velika je većina opterećena negativnim značenjima. Ovaj strah/mržnja prema Islamu znači da su „neutralniji” ili „pozitivniji” prikazi Muhameda ostali prilično nezapaženi od strane vladajućeg mnijenja i nepovjerenja pred prorokom koji osporava najklasičnija religijska uvjerenja u europskoj povijesti. U ovom se tekstu analizaraju neki od vizualnih prikaza, u težnji za iskazivanjem složenosti prijelaza od prikaza nepoznatog do prikaza nepovjerljivih.
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Maometto a Roma e crociate in piazza: La facciata di Polidoro da Caravaggio e Maturino da Firenze in piazza Capranica
show More to view fulltext, buy and share links for:Maometto a Roma e crociate in piazza: La facciata di Polidoro da Caravaggio e Maturino da Firenze in piazza Capranica show Less to hide fulltext, buy and share links for: Maometto a Roma e crociate in piazza: La facciata di Polidoro da Caravaggio e Maturino da Firenze in piazza CapranicaBy: Francesco SorceAbstractIl contributo esamina i possibili significati della facciata dipinta da Polidoro da Caravaggio e Maturino da Firenze in piazza Capranica a Roma. Considerate alcune questioni filologiche ed ermeneutiche ancora aperte, il saggio mette in luce i nessi dell’opera con i topoi circolanti nella produzione culturale del pontificato di Leone X a sostegno, piu o meno diretto, della crociata promossa dal papa. Per spiegare le scelte iconografiche della coppia di artisti, in particolare, contraddistinte da una chiara connotazione anti-ottomana, sono analizzati alcuni schemi narrativi derivanti dalla tradizione del pensiero escatologico e ampiamente documentati nella rete testuale legata al regno di Giovanni de’ Medici. Tali schemi tematizzano la vittoria occidentale sul nemico Turco e la conversione universale al Cristianesimo, ritenuti prodromi necessari al compimento della profezia enunciata nel Vangelo di Giovanni (10, 16: “fiet unum ovile et unus pastor”) e citata da un’iscrizione che campeggiava sul prospetto. L’ultima parte e dedicata, invece, alla fruizione delle immagini di Polidoro e Maturino, rivolte, grazie alla collocazione, a un pubblico virtualmente molto esteso. Se ne discutono quindi i livelli di comprensibilita e l’efficienza semiotica anche alla luce della rete comunicativa “di piazza”, fatta di professionisti dell’informazione “popolare” come predicatori erranti e cantastorie, capaci di divulgare i saperi necessari a comprendere i sofisticati contenuti rappresentati, creando forme protomoderne di opinione pubblica disponibili alla guerra contro l’avversario islamico.
AbstractMohammed in Rome and Crusades in the Square: Palace Facade in Piazza Capranica in Rome by Polidoro da Caravaggio and Maturino da Firenze
This text examines the possible meanings of the facade painted by Polidoro da Caravaggio and Maturino da Firenze in Piazza Capranica in Rome. Considering some philological and hermeneutical questions still open, the essay highlights the links between the work and the topoi circulating in the cultural production in the pontificate of Leo X that support, more or less directly, the crusade promoted by the pope. To explain the iconographic choices of the artists, characterized by a clear anti-Ottoman connotation, some narrative schemes deriving from the tradition of eschatological thought and well documented in the textual network linked to the reign of Giovanni de’ Medici are analyzed. These schemes thematize the Western victory over the Turkish enemy and the universal conversion to Christianity, considered as necessary precursors for the fulfillment of the prophecy enunciated in the Gospel of John (10, 16: “fiet unum ovile et unus pastor”) and quoted in an inscription that stood out on the prospectus. The last part of the text is dedicated to the images of Polidoro and Maturino that were aimed at a very large audience. The levels of comprehensibility and semiotic efficiency are therefore discussed also in the light of the ‘street’ communication network, made up by professionals of ‘popular’ information such as errant preachers and storytellers, capable of disseminating the knowledge necessary to understand the sophisticated contents represented, creating proto-modern forms of public opinion available for war against the Islamic adversary.
AbstractMuhamed u Rimu i križarski ratovi na trgu: Fasada Polidora iz Caravaggia i Maturina iz Firenze na Piazzi Capranici u Rimu
Rad propituje moguća značenja fasade koju su oslikali Polidoro iz Caravaggia i Maturino iz Firenze na Piazzi Capranici u Rimu. Uzimajući u obzir neka filološka i hermeneutička pitanja koja su još uvijek otvorena, esej naglašava veze između djela i topoia koji kruže u kulturnim krugovima za pontifikata Lava X., a koji podupiru, više ili manje izravno, križarski rat koji je promovirao papa. Kako bi se objasnili ikonografski odabiri umjetnika, koje karakterizira jasna anti-osmanska poruka, analiziraju se neke narativne sheme koje proizlaze iz tradicije eshatološke misli i dobro dokumentiranih pisanih izvora povezanih s vladavinom Giovannija Medicija. Te sheme tematiziraju pobjedu Zapada nad turskim neprijateljem i opće obraćenje na kršćanstvo, koje se smatra nužnim preduvjetom za ispunjenje proročanstva izrečenog u Evanđelju po Ivanu (10, 16: „fiet unum ovile et unus pastor”) i citiranog u natpisu koji se isticao na prospektu. Posljednji dio teksta posvećen je slikama Polidora i Maturina koje su bile namijenjene vrlo brojnoj publici. Razine razumljivosti i semiotičke učinkovitosti raspravljaju se u svjetlu „ulične” komunikacijske mreže, koju čine profesionalni stvaratelji „popularnih” informacija kao što su zalutali propovjednici i pripovjedači, sposobni za širenje znanja potrebnog za razumijevanje sofisticiranih sadržaja, stvarajući protomoderne oblike javnog mnijenja podatnog za rat protiv islamskog protivnika.
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Exclude or Convert? The Image of the Muslim Slave in the Iconography of the Vision of St John of Matha in Rome
show More to view fulltext, buy and share links for:Exclude or Convert? The Image of the Muslim Slave in the Iconography of the Vision of St John of Matha in Rome show Less to hide fulltext, buy and share links for: Exclude or Convert? The Image of the Muslim Slave in the Iconography of the Vision of St John of Matha in RomeAbstractOn 28 January 1193, St John of Matha had a vision as he celebrated his first Mass. In it, Christ was holding the hands of two men in chains, one black and deformed and the other white and malnourished. After this event, John of Matha and Felix of Valois founded the Order of the Most Holy Trinity, which received the approval of Pope Innocent III in 1198. The order’s mission was the redemption of Christian slaves from the hands of the Saracens to prevent them from renouncing their faith and embracing that of the infidels. From the 13th century onward, depictions of the saint’s vision became the iconographic topos of the order itself. This article aims to analyse images of the Muslim slave in the vision of St John of Matha, particularly in the numerous examples still found in the Church of the Santissima Trinita degli Spagnoli in Rome, in which the Muslim slave is given certain singular features.
AbstractIzopćiti ili preobratiti? Prikaz muslimanskog roba u ikonografiji Vizije Sv Ivana de Mathe u Rimu
Dana 28. siječnja 1193. Sveti Ivan de Matha imao je viziju dok je slavio svoju prvu misu. U njoj je Krist držao za ruke dva čovjeka u lancima, jednog crnog i deformiranog, a drugog bijelog i neuhranjenog. Nakon ovog događaja, Ivan de Matha i Felix iz Valoisa osnovali su Red Presvetog Trojstva, koji je dobio odobrenje pape Inocenta III. 1198. Misija reda bila je otkupljenje kršćanskih robova od Saracena kako bi se spriječilo njihovo odricanje od svoje vjere i prihvaćanje vjere nevjernika. Od 13. stoljeća, prikazi svečeve vizije postali su ikonografski topos Reda. Ovaj rad ima za cilj analizirati prikaze muslimanskog roba u Viziji Svetog Ivana od Mathe, posebice u brojnim primjerima koji se nalaze u crkvi Santissima Trinita degli Spagnoli u Rimu, u kojima se muslimanskom robu daju određene jedinstvene značajke.
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Anachronism at Work: Villains and Enemies as Turks in Early Modern Religious Art in Genoa and Liguria
show More to view fulltext, buy and share links for:Anachronism at Work: Villains and Enemies as Turks in Early Modern Religious Art in Genoa and Liguria show Less to hide fulltext, buy and share links for: Anachronism at Work: Villains and Enemies as Turks in Early Modern Religious Art in Genoa and LiguriaAuthors: Laura Stagno and Valentina BorniottoAbstractIn western Early Modern imaginaire, the Ottoman enemy was often perceived, at a symbolic level, as the quintessence of threat and persecution against the Catholic faith. Figures of ‘Turks’, identified by way of easily recognizable attributes (such as the turban), were therefore substituted for other, radically different characters in a plurality of visual narratives. In a semantically significant anachronism, Turks populated Old and New Testament scenes as well as the depictions of the martyrdoms of Christians persecuted by the Romans in the first centuries. In parallel, the same attributes were also sometimes superimposed on the figures of other, contemporary enemies of the faith, who lacked an established iconographic tradition of their own: namely the Protestant ‘heretics’. This paper aims to illustrate this visual device through a selection of significant case studies taken from the territory of the Republic of Genoa, a state characterized by a long-standing involvement in the fight against Ottoman forces and Barbary corsairs.
AbstractAnakronizam na djelu: zlikovci i neprijatelji prikazani kao Turci u ranonovovjekovnoj religijskoj umjetnosti Genove i Ligurije
U ranonovovjekovnom imaginariju Zapada, osmanski se neprijatelj na simboličkoj razini često doživljavao kao kvintesencija prijetnje i progona katoličke vjere. Prikazi „Turaka”, identificirani prema lako prepoznatljivim atributima kao što je turban, postaju zamjena za Druge, radikalno različite likove u mnoštvu vizualnih narativa. U semantički značajnom anakronizmu, Turci su nastanili starozavjetne i novozavjetne scene kao i prikaze mučeništava kršćana koje su progonili Rimljani u prvim stoljećima. Isti se atributi ponekad koriste za prikaze drugih suvremenih neprijatelja vjere, kojima je nedostajala vlastita ikonografska tradicija - protestantskih „heretika”. Ovaj rad ima za cilj ilustrirati ovaj vizualni instrumentarij kroz izbor nekoliko studija slučaja preuzetih s područja Republike Genove, države koju karakterizira dugotrajno sudjelovanje u borbi protiv osmanskih snaga i barbarskih gusara.
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“Whoever Belongs to God Hears What God Says” (John 8:47): The Other as Deaf in Two Frescoes by Filippo Lippi and Gualtiero Padovano
show More to view fulltext, buy and share links for:“Whoever Belongs to God Hears What God Says” (John 8:47): The Other as Deaf in Two Frescoes by Filippo Lippi and Gualtiero Padovano show Less to hide fulltext, buy and share links for: “Whoever Belongs to God Hears What God Says” (John 8:47): The Other as Deaf in Two Frescoes by Filippo Lippi and Gualtiero PadovanoBy: Marta BattistiAbstractThis essay explores the Christian visualization of religious Otherness in connection to deafness in Italian paintings of the 15th and 16th centuries. Following the words of John 8:47 “Whoever belongs to God hears what God says”, theologians developed through centuries the idea of a Christian community based on listening to God with the ears of the spirit or the ears of the heart. Hence, deafness is conceived as the hallmark of the Christian Other: Jews, heretics or false believers are therefore perceived as ”spiritually” deaf. The essay aims to investigate how Christian images depict the Other as deaf as opposed to the Christian who listens. To this end, it focuses mainly on two frescoes that stand out for the originality with which they illustrate this contrast: the Disputation of St Stephen with the Elders of the Sanhedrin (1452-1567) by Fra Filippo Lippi in Prato’s Cathedral and St Anthony of Padua preaching to the fishes (1530-1537) attributed to Gualtiero Padovano in the Oratory of the Walnut Tree near Padua. Starting from this iconographic analysis, I reflect on the effect these frescoes might have had on their viewers. Conceived to be seen by Christians, their main purpose appears to be the construction of Christian identity based on listening: a listening Us versus the deaf Other.
Abstract„Tko je od Boga, riječi Božje sluša” (Ivan 8:47) Drugi i gluhi na freskama Filippa Lippia i Gualtiera Padovana
Tekst istražuje kršćansku vizualizaciju religijske Drugosti u vezi s gluhoćom na talijanskim slikama 15. i 16. stoljeća. Prema Ivanu 8,47 „Tko je od Boga, riječi Božje sluša”, teolozi su kroz stoljeća razvijali ideju kršćanske zajednice koja se temelji na slušanju Boga ušima duha ili ušima srca. Stoga se gluhoća smatrala obilježjem Drugih: Židova, heretika ili lažnih vjernika koji se doživljavaju kao „duhovno” gluhi. Rad ima za cilj istražiti kako kršćanska umjetnost prikazuje Drugog kao gluhog za razliku od kršćanina koji sluša. U tu se svrhu uglavnom usredotočuje na dvije freske koje se ističu originalnošću kojom ilustriraju ovu suprotnost: Rasprava sv. Stjepana sa starješinama Sanhedrina Fra Filippa Lippija u Katedrali u Pratu (1452-1567) i Sv. Ante Padovanski propovijeda ribama Gualtiera Padovana u Svetištu od oraha u Camposampietru kraj Padove (1530.-1537.). Polazeći od ikonografske analize, raspravlja se o utjecaju koje su freske mogle imati na gledatelje. Zaključuje se da je njihov temeljni zadatak bio izgradnja kršćanskog identiteta koji se temelji na slušanju: Nas koji slušamo nasuprot gluhog Drugog.
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Religious Otherness in Giulio Clovio’s Miniatures
show More to view fulltext, buy and share links for:Religious Otherness in Giulio Clovio’s Miniatures show Less to hide fulltext, buy and share links for: Religious Otherness in Giulio Clovio’s MiniaturesAbstractThe subject of this paper discusses some problems in the art of the famous 16th-century miniaturist Giorgio Giulio Clovio, who illuminated numerous single miniatures and manuscripts for the Catholic Church. The iconography of Clovio’s miniatures is primarily Christian, but it also includes many other elements in the spirit of Renaissance art. The Farnese Hours, illuminated for Cardinal Alessandro Farnese between 1537 and 1546, contains illuminations considered Clovio’s first work for the Cardinal. The Others in the miniatures are the antichi romani and old pagan Roman elements that were included in his iconography. Among many different Roman motifs that can be found in the Farnese Hours I focus on two: the Roman carnival (Feast of Testaccio, fols. 40v-41r) and the blue ewer represented eleven times inside the decorative border of the folios 26v-27r (Adoration of the Shepherds and Adam and Eve in the Earthly Paradise).
AbstractReligijska Drugost u minijaturama Julija Klovića
Članak obrađuje pitanje Drugosti u radovima slavnog minijaturista Jurja Julija Klovića, autora brojnih pojedinačnih minijatura te iluminiranih rukopisnih knjiga Katoličke Crkve 16. stoljeća. Njegova je ikonografija uglavnom kršćanska no ona donosi i brojne druge elemente koncipirane u duhu renesanse umjetnosti. U razdoblju od 1537. do 1546., Klović je za kardinala Aleksandra Farnesea iluminirao Časoslov Farnese čije se minijature smatraju njegovim prvim djelom izrađenim po kardinalovoj narudžbi. U iluminacijama ovog časoslova, Drugi/Others o kojima rad govori su antichi romani i starorimski poganski elementi koje nalazimo u ikonografiji časoslova. Od mnogobrojnih motiva antičkog rimskog svijeta koji su u Časoslovu prikazani, rad se usredotočuje na dva primjera: rimski karneval (Proslava Testaccia, fol. 40v-41r) i plavi vrč koji je prikazan čak jedanaest puta unutar dekorativnog okvira središnje minijature na fol. 26v-27r (Poklonstvo pastira i Adam i Eva u Rajskom vrtu).
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Iberia - Iconosphere of Religious Otherness: The “Sodomitic Moor” in 16th-Century Spanish Painting
show More to view fulltext, buy and share links for:Iberia - Iconosphere of Religious Otherness: The “Sodomitic Moor” in 16th-Century Spanish Painting show Less to hide fulltext, buy and share links for: Iberia - Iconosphere of Religious Otherness: The “Sodomitic Moor” in 16th-Century Spanish PaintingAbstractThis text proposes a genealogy of the trope of the “Sodomitic Moor” in medieval Iberian culture and its consolidation from the Modern Age onwards, coinciding with the imperialist/colonialist expansion towards America. The object of the study are the literary sources that describe the martyrdom of Saint Pelagius in the 10th century (Raguel and Rosvita of Gandersheim) and the visual representations of the same subject in the 16th-century Spanish painting, specifically the images that make up the altarpiece of Saint Pelagius painted by Master of Becerril, which is now in Malaga’s Cathedral. The analysis of the sources will be carried out considering the contributions of queer theory to the study of medieval Iberian cultures through authors such as Mark Jordan or Gregory Hutchenson. As for the visual analysis, the text reviews the historiography of Spanish art history on the images that make up this altarpiece, as well as other contributions such as Francisco de Holanda’s theory of painting, the persecutions for sodomy that were consolidated at the end of the 15th century with the approval of the Pragmatic against Sodomy by the Catholic monarchs, or the principle of ‘interconnected Otherness’ defined by Victor Stoichita, which allows us to understand how the Muslim religious Other is interconnected with the racialized Indian Other from the end of the 15th century onwards.
AbstractIberija - ikonosfera religijske: Drugosti Maur sodomist u španjolskome slikarstvu 16. stoljeća
Tekst donosi prijedlog genealogije tropa „Maur sodomist“ u srednjovjekovnoj iberijskoj kulturi te njegovo ukorijenjenje od modernog doba nadalje, što se podudara s imperijalističkom/kolonijalnom ekspanzijom prema Americi. Predmet proučavanja su literarni izvori koji opisuju mučeništvo Svetog Pelagija u 10. stoljeću - Raguel i Rosvita iz Gandersheima - te vizualni prikazi iste teme u španjolskom slikarstvu 16. stoljeća, preciznije prikazi na oltarnoj slici Svetog Pelagija koju je naslikao majstor iz Becerrila, a koja se danas nalazi u katedrali u Malagi. Analiza izvora provedena je u okviru queer teorije u proučavanju srednjovjekovnih iberijskih kultura, s posebnom referencom na autore poput Marka Jordana ili Gregoryja Hutchensona. U tekstu se kritički osvrće na historiografiju španjolske povijesti umjetnosti o spomenutoj oltarnoj slici, ali i na druge priloge poput teorije slikarstva Francisca de Holande ili progona zbog sodomije koji su uspostavljeni krajem 15. st. prihvaćanjem Pragmatike protiv sodomije od strane katoličkih vladara. Također, raspravlja se i o načelu „međupovezane Drugosti“ Victora Stoichite, koje omogućuje razumijevanje načina na koji je muslimanski religijski Drugi povezan s rasno obojenim indijanskim Drugim od kraja 15. stoljeća.
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The Rebellion of the Alpujarras, Virgil, and the Fall of the Giants by Petrus Firens Cover Art for Historia de las Guerras Civiles de Granada
show More to view fulltext, buy and share links for:The Rebellion of the Alpujarras, Virgil, and the Fall of the Giants by Petrus Firens Cover Art for Historia de las Guerras Civiles de Granada show Less to hide fulltext, buy and share links for: The Rebellion of the Alpujarras, Virgil, and the Fall of the Giants by Petrus Firens Cover Art for Historia de las Guerras Civiles de GranadaAbstractThis paper is an analysis of the engraving made by Petrus Firens for the cover page of Historia de las Guerras Civiles de Granada (Gines Perez de Hita, Paris, 1606?). The artwork makes use of a particular iconography, portraying a battle against Islam as a Gigantomachy in which references to texts by Virgil are employed to link the victories of Philip II over Islam to the victories of Roman Emperors. What makes this edition particularly noteworthy is its publication in France by a Spanish spy in the service of the French king which leads us to reconsider its political purpose.
AbstractUstanak u Alpujarrasu, Vergilije i Pad Giganata Petrusa Firensa: naslovnica za Historia de las Guerras Civiles de Granada
Ovaj je rad analiza grafike Petrusa Firensa za naslovnu stranicu Historia de las Guerras Civiles de Granada (Gines Perez de Hita, Pariz, 1606?). Naslovna ilustracija koristi posebnu ikonografiju, prikazujući bitku protiv Islama kao Gigantomahiju, u kojoj su reference na Vergilijeve tekstove korištene kako bi povezale pobjede Filipa II nad Islamom s pobjedama rimskih careva. Ono što ovo izdanje čini posebno zanimljivim jest činjenica da je objavljeno u Francuskoj od strane španjolskoga špijuna u službi francuskoga kralja, što nas upućuje da preispitamo njegovu političku pozadinu i svrhu.
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The Augustinian Way: Religious Otherness through the Images of Augustinian Devotion in 16th- and 17th-Century Sardinia
show More to view fulltext, buy and share links for:The Augustinian Way: Religious Otherness through the Images of Augustinian Devotion in 16th- and 17th-Century Sardinia show Less to hide fulltext, buy and share links for: The Augustinian Way: Religious Otherness through the Images of Augustinian Devotion in 16th- and 17th-Century SardiniaBy: Mauro SalisAbstractSeveral studies have highlighted the role assigned to images by religious congregations, particularly since the Counter-Reformation. Among the less studied religious orders is also that of the Augustinians, who, from the very beginning of the 16th century initiated within their Order a profound criticism of the evils of the Church. The most famous outcome of this criticism, with epochal repercussions for Christianity, was Martin Luther’s “protest” in Germany. In other Western European territories, struck by similar social problems but with a different cultural substrate and political context, the Augustinians faced the problems of their time, starting with a careful reform of their organization with the aim of being able to operate at their best in each territorial context according to the peculiar social, political and cultural contingencies. This reform in 1512 also included the establishment of the Augustinian Province of Sardinia, including Valencia, the Balearic Islands and the island of Sardinia. The extension of the religious institution coincided with the political one as the Kingdom of Sardinia, the Kingdom of Mallorca and the Kingdom of Valencia were part of the Crown of Aragon and, given their geographical location in the Mediterranean Sea, they were the Crown’s last line of defense against the Turkish offensive. These territories were in fact under constant attack by Ottomans and many inhabitants were captured and enslaved. Furthermore, in these territories the number of Moriscos (the descendants of the forcibly baptized Iberian Muslims) was high, which is why the issue of the conflict between religions was strongly felt. This conflict between the two religions can also be found in the images of Augustinian devotion. This paper explains how and why a change occurred in the representation of religious Otherness in Augustinian iconography in Sardinia between the 16th and 17th century.
AbstractNa način Augustinaca: religijska Drugost kroz prikaze augustinske pobožnosti na Sardiniji u 16. i 17. stoljeću
Nekoliko studija istaknulo je ulogu koju su religijske kongregacije dodijelile slikama, osobito od vremena Protureformacije. Među manje proučavanim redovima u tom je vidu onaj Augustinaca, koji su od početka 16. stoljeća započeli kritiku zala Crkve, koja je završila prosvjedom Martina Luthera u Njemačkoj, koji će obilježiti povijest kršćanske Crkve. Na drugim zapadnoeuropskim prostorima, pogođenim sličnim društvenim problemima, ali s drugačijim kulturnim supstratom i političkim kontekstom, augustinski se red suočio s brojnim problemima, počevši od reforme svoje organizacije s ciljem da može najbolje djelovati u svakom teritorijalnom kontekstu i prema posebnim društvenim, političkim i kulturnim datostima. Ova je reforma 1512. dovela do uspostave provincije Sardinije, koja je uključila Valenciju, Balearske otoke i otok Sardiniju. Proširenje vjerske institucije poklopilo se s političkim, budući da su Kraljevina Sardinija, Kraljevina Mallorca i Kraljevina Valencia bile dio Krune Aragona i, s obzirom na njihov geografski položaj u Sredozemnom moru, bile su zadnja linija obrane Krune od turskih napada. Ta su područja zapravo bila pod stalnim napadima Osmanlija, a mnogi stanovnici su bili zarobljeni i porobljeni. Nadalje, na ovim prostorima broj Moriska (potomaka nasilno pokrštenih iberijskih muslimana) bio je velik, zbog čega se snažno osjećao problem sukoba među religijama, koji se može vidjeti i na slikama augustinske pobožnosti. Ovaj rad objašnjava kako je i zašto došlo do promjene u prikazima religijske Drugosti u augustinskoj ikonografiji na Sardiniji između 16. i 17. stoljeća.
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Otherness Underfoot: Enemies of Occidental Christian Culture Defeated by the Apostle St James
show More to view fulltext, buy and share links for:Otherness Underfoot: Enemies of Occidental Christian Culture Defeated by the Apostle St James show Less to hide fulltext, buy and share links for: Otherness Underfoot: Enemies of Occidental Christian Culture Defeated by the Apostle St JamesAbstractThe figure of St James riding his white horse and conquering the enemy is found throughout the Hispano-American world. While the image originated in Compostela (Galicia) in the 13th century to celebrate the victory of Christ’s apostle over the Muslims, in the 16th century it migrated to America to defeat the Christian faith’s new enemy: the indigenous Americans. This equestrian figure of a hero crushing the enemy underfoot would be what Aby Warburg referred to as a pathosformel - an effective, efficient figure that visually embodies the emotional charge of a time period and is part of a cultural strategy. The horseback rider is a triumphant hero who embodies the possibility of salvation for a culture that feels threatened with extinction. A fierce, white horse tramples the enemy underfoot. This enemy represents Otherness, which is a threat to the system’s stability. The conquest of America brought with it a new enemy, which embodied religious and cultural Otherness, a new enemy whose beliefs and ‘idolatry’ needed to be destroyed, a new enemy to be crushed by St James’ fierce horse: the indigenous Americans. With regard to the conquest of the American territory’s visual strategy, images that portrayed the Moor as an enemy continued to be produced, turning this iconography into a demonstration of the overall victory of the Christian religion over other belief systems. The simultaneously emerging iconography depicted a defeated indigenous American and a victorious St James the Moor-slayer. The formula has proven to be successful, as new uses have arisen lately.
AbstractDrugost pod nogama: neprijatelji zapadne kršćanske kulture poraženi od Svetog Jakova Apostola
Lik svetoga Jakova koji na bijelome konju pobjeđuje neprijatelja nalazimo u cijelom hispanoameričkom svijetu. Ova je ikonografija nastala u Composteli (Galicija) u 13. stoljeću kako bi prikazala pobjedu Kristova apostola nad muslimanima, a u 16. stoljeću migrirala je u Ameriku kako bi porazila novog neprijatelja kršćanske vjere - domorodačko stanovništvo. Ova konjanička figura heroja koji slama neprijatelja pod nogama predstavlja ono što je Aby Warburg nazvao Patosformelom - učinkovit prikaz koji vizualno prenosi emocionalni naboj nekog vremenskog razdoblja i dio je kulturne strategije. Jahač je pobjednički heroj koji utjelovljuje mogućnost spasa za kulturu kojoj prijeti izumiranje. Žestoki, bijeli konj gazi neprijatelja koji jest Drugost, koja predstavlja prijetnju stabilnosti sustava. Osvajanje Amerike donijelo je novog neprijatelja - autohtone Amerikance - koji je utjelovio vjersku i kulturnu Drugost i čija su uvjerenja i „idolopoklonstvo” trebali biti uništeni, neprijatelja kojega je slomio žestoki konj Svetog Jakova. U okviru vizualne strategije osvajanja američkog teritorija, stvaraju se prikazi koji portretiraju „Maure“ kao neprijatelja, pretvarajući ovu ikonografiju u demonstraciju potpune pobjede kršćanske religije nad drugim sustavima vjerovanja. Ta je nova ikonografija prikazivala poraženog domorodačkog Indijanca i pobjedničkog svetog Jakova-Ubojicu Maura te se pokazala kao uspješna formula, o čemu svjedoče suvremene inačice nastale u posljednje vrijeme.
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