Drawing on various philosophical and theological writings produced in eleventh-century Byzantium, this e-book bargains a studying of the icon and Byzantine aesthetics that not just expands our realizing of those issues yet demanding situations our assumptions concerning the murals itself.
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Additional info for Contesting the Logic of Painting
Both theologians had brought the logical categories of Aristotle to bear on the image question. In so doing, they not only deÀnitively altered the discourse on icons but also established a fresh ground for theological practice in Byzantium. The central role of art within this system is perhaps best shown by a canon produced by a church council that met in Constantinople in 869–70. 88 One of these was the seventh canon that had declared: 87 88 On the question of authorship see Gouillard, Synodikon: 157–58.
Anthony Gythiel (Crestwood: St. Vladimir’s Seminary Press, 1986); and Alexander Golitzin, St. Symeon the New Theologian, On the Mystical Life: The Ethical Discourses, Vol. 3: Life, Times and Theology (Crestwood, NY: St. Vladimir’s Seminary Press, 1997). An alternative chronology can be found at Alexander Kazhdan, “Predvaritel’nye zamecanija o mirovozzrenii vizantijskogo mistika x–xi vv. Simeona,” Byzantinoslavica 28 (1967): 1–38. symeon the new theologian: seeing beyond painting 27 the city, Symeon the Pious.
The SYNODIKON OF ORTHODOXY and the ground of painting 15 superÀcial knowledge. 68 This then leads to the second issue raised in this phrase, which is the relation between icons and the economy of salvation. Iconoclasts had offered a very spiritual and verbal account of salvation, in which the words of the Gospel narrative were to impress themselves upon the heart of the believer and raise them towards their salvation. Iconophiles argued that such a model ignored the importance of the incarnation as a moment when such salvation became assured.
Contesting the Logic of Painting by Barber;C.E.