Name: The Sensual Icon: Space, Ritual, and the Senses in Byzantium (en Inglés)
SKU: 53764727
Price: 1307.33 MXN
Availability: InStock
Author: Pentcheva, Bissera V.
ISBN: 9780271035833

portada The Sensual Icon: Space, Ritual, and the Senses in Byzantium (en Inglés)

The Sensual Icon: Space, Ritual, and the Senses in Byzantium (en Inglés)

Formato

Libro Físico

Autor

Bissera V. Pentcheva

Editorial

Penn State University Press

Año

2013

Idioma

Inglés

N° páginas

327

Encuadernación

Tapa Blanda

Dimensiones

25.3x19.4x2.1 cm

Peso

1.10 kg.

ISBN13

9780271035833

N° edición

Categorías

Europa
Relativo a grupos religiosos/comunidades religiosas
Estilo medieval
Historia del arte
Arte religioso y ceremonial

The Sensual Icon: Space, Ritual, and the Senses in Byzantium (en Inglés)

Bissera V. Pentcheva (Autor) · Penn State University Press · Tapa Blanda

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Reseña del libro "The Sensual Icon: Space, Ritual, and the Senses in Byzantium (en Inglés)"

Today we take the word "icon" to mean "a sign," or we equate it with portraits of Christ and the saints. In The Sensual Icon, Bissera Pentcheva demonstrates how icons originally manifested the presence of the Holy Spirit in matter. Christ was the ideal icon, emerging through the Incarnation; so, too, were the bodies of the stylites (column-saints) penetrated by the divine pneuma (breath or spirit), or the Eucharist, or the Justinianic space of Hagia Sophia filled with the reverberations of chants and the smoke of incense. Iconoclasm (726-843) challenged these Spirit-centered definitions of the icon, eventually restricting the word to mean only the lifeless imprint (typos) of Christ's visual characteristics on matter. By the tenth century, mixed-media relief icons in gold, repoussé, enamel, and filigree offered a new paradigm. The sun's rays or flickering candlelight, stirred by drafts of air and human breath, animated the rich surfaces of these objects; changing shadows endowed their eyes with life. The Byzantines called this spectacle of polymorphous appearance poikilia, that is, presence effects sensually experienced. These icons enabled viewers in Constantinople to detect animation in phenomenal changes rather than in pictorial or sculptural naturalism. "Liveliness," as the goal of the Byzantine mixed-media relief icon, thus challenges the Renaissance ideal of "lifelikeness," which dominated the Western artistic tradition before the arrival of the modern. Through a close examination of works of art and primary texts and language associated with these objects, and through her new photographs and film capturing their changing appearances, Pentcheva uncovers the icons' power to transform the viewer from observer to participant, communing with the divine.