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Books > Arts & Architecture > Art forms, treatments & subjects > Sculpture & other three-dimensional art forms > Sculpture
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Fallen Idols, Risen Saints - Sainte Foy of Conques and the Revival of Monumental Sculpture in Medieval Art (Hardcover)
Loot Price: R3,753
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Fallen Idols, Risen Saints - Sainte Foy of Conques and the Revival of Monumental Sculpture in Medieval Art (Hardcover)
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This book investigates the origins and transformations of medieval
image culture and its reflections in theology, hagiography,
historiography and art. It deals with a remarkable phenomenon: the
fact that, after a period of 500 years of absence, the tenth
century sees a revival of monumental sculpture in the Latin West.
Since the end of Antiquity and the pagan use of free-standing,
life-size sculptures in public and private ritual, Christians were
obedient to the Second Commandment forbidding the making and use of
graven images. Contrary to the West, in Byzantium, such a revival
never occurred: only relief sculpture - mostly integrated within an
architectural context - was used. However, Eastern theologians are
the authors of highly fascinating and outstanding original
theoretical reflections about the nature and efficacy of images.
How can this difference be explained? Why do we find the most
fascinating theoretical concepts of images in a culture that sticks
to two-dimensional icons often venerated as cult-images that are
copied and repeated, but only randomly varied? And why does a
groundbreaking change in the culture of images - the revival of
monumental sculpture - happen in a context that provides more
restrained theoretical reflections upon images in their immediate
theological, liturgical and artistic contexts? These are some of
the questions that this book seeks to answer.The analysis and
contextualization of the revival of monumental sculpture includes
reflections on liturgy, architecture, materiality of minor arts and
reliquaries, medieval theories of perception, and gift exchange and
its impact upon practices of image veneration, aesthetics and
political participation. Drawing on the historical investigation of
specific objects and texts between the ninth and the eleventh
century, the book outlines an occidental history of image culture,
visuality and fiction, claiming that only images possess modes of
visualizing what in the discourse of medieval theology can never be
addressed and revealed.
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