BEFORE AND AFTER THE IKON.
This paper takes a critical look at the ikonic type of image, the "sacred image" as the "face" of the Eastern Christian tradition and the way it identifies itself, both aesthetically and ideologically. Is the union of the two inevitable and inseparable? Does this union still work? How and when did t...
| Publicado en: | Cross Currents Vol. 74; no. 2; pp. 85 - 110 |
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| Formato: | Artículo |
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University of North Carolina Press
Jun2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=182762158&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 182762158 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00111953 CCU jtl: Cross Currents issn: 00111953 maglogo: N pubinfo: dt: Jun2024 vid: 74 iid: 2 pid: 2027 pub: University of North Carolina Press artinfo: ui: 182762158 10.1353/cro.2024.a951551 ppf: 85 ppct: 25 formats: fmt: @attributes: type: P size: 75MB tig: atl: BEFORE AND AFTER THE IKON. aug: au: Vaneyan, Fr. Dr. Stephan Vaneyan Translated by Translated into English by Elena su: Theology Philosophy of religion Sacred space Religious experience Social theory Temples Church architecture sug: subj: Theology Philosophy of religion Sacred space Religious experience Social theory Temples Church architecture keyword: architecture as Gesamtkunstwerk art—eschatology contemporary Eastern Christian tradition corporeality creativity as sacrifice Eucharist Liturgical space sacred ritual the ikon and the picture ab: This paper takes a critical look at the ikonic type of image, the "sacred image" as the "face" of the Eastern Christian tradition and the way it identifies itself, both aesthetically and ideologically. Is the union of the two inevitable and inseparable? Does this union still work? How and when did the ikon become the only possible artistic form of sacred representation for the Eastern Christian tradition? Has the ikon, with its origins in a form of art for which any mimetic (figurative and objective) representation becomes merely one among its many motifs—that is, in decorative art—has the ikon ever been art in the proper sense? Or has it merely been a type of visual practice, which, at some point, acquired independence and mobility, as did easel painting? Furthermore, how did this purely "designer" visual practice, this maniera greca , shape the aesthetics and even the artistic ethics of the Christian East? pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Cross Currents is the property of University of North Carolina Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Cross Currents holder: University of North Carolina Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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