Recent research into the texts, practices, and visual culture of
late medieval devotional life in western Europe has clearly
demonstrated the centrality of devotions to Christ's Passion. The
situation in Castile, however, could not have been more different.
Prior to the final decades of the fifteenth century, individual
relationships to Christ established through the use of
"personalized" Passion imagery simply do not appear to have been a
component of Castilian devotional culture.
In Imagining the Passion in a Multiconfessional Castile, Cynthia
Robinson argues that it is necessary to reorient discussions of
late medieval religious art produced and used in Castile, placing
Iberian devotional art in the context of Iberian devotional
practice. Instead of focusing on the segregation of the religious
lives of members of late medieval Iberia's much-discussed "Three
Confessions" (Judaism, Christianity, and Islam), Robinson offers
concrete evidence of the profound impact of each sect on the other
two.
Imagining the Passion in a Multiconfessional Castile ranges
across traditional disciplinary and cultural divides. Robinson
considers altarpieces that differ radically from their European
contemporaries; architectural ornament; a rare series of narratives
of Christ's life; indulgenced prayers; Muslim and Jewish mystical
texts; lives, hours, devotions, and Psalters of and to the Virgin
which appear to be uniquely Iberian and find resonances in both
Hebrew and Arabic mystical literature; sacred gardens and trees in
both textual and visual culture from Muslim, Christian, and Jewish
contexts; and preaching manuals written by converted Jews.
Together, these texts and images offer striking evidence of the
plurality of late medieval Iberian religious life, both within the
supposed boundaries of a specific religion and in terms of each
culture's relationship with the other.
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