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Between the late-seventh and the mid-ninth centuries, a debate about sacred images - conventionally addressed as 'Byzantine iconoclasm' - engaged monks, emperors, and popes in the Mediterranean area and on the European continent. The importance of this debate cannot be overstated; it challenged the relation between image, text, and belief. A series of popes staunchly in favour of sacred images acted consistently during this period in displaying a remarkable iconophilia or 'love for images'. Their multifaceted reaction involved not only council resolutions and diplomatic exchanges, but also public religious festivals, liturgy, preaching, and visual arts - the mass-media of the time. Embracing these tools, the popes especially promoted themes related to the Incarnation of God - which justified the production and veneration of sacred images - and extolled the role and the figure of the Virgin Mary. Despite their profound influence over Byzantine and western cultures of later centuries, the political, theological, and artistic interactions between the East and the West during this period have not yet been investigated in studies combining textual and material evidence. By drawing evidence from texts and material culture - some of which have yet to be discussed against the background of the iconoclastic controversy - and by considering the role of oral exchange, Iconophilia assesses the impact of the debate on sacred images and of coeval theological controversies in Rome and central Italy. By looking at intersecting textual, liturgical, and pictorial images which had at their core the Incarnate God and his human mother Mary, the book demonstrates that between c.680-880, by unremittingly maintaining the importance of the visual for nurturing beliefs and mediating personal and communal salvation, the popes ensured that the status of sacred images would remain unchallenged, at least until the Protestant Reformation in the sixteenth century. --

Christianity and art --- Papacy --- Idols and images --- Christian art and symbolism --- Iconoclasm. --- Church history --- Catholic Church --- History. --- History --- Worship. --- Themes, motives. --- Orthodox Eastern Church --- Jesus Christ --- Mary, --- Relations --- Orthodox Eastern Church. --- Catholic Churh. --- 091.31 <45> --- 091:2 --- 091 "04/09" --- 091 "04/09" Handschriftenkunde. Handschriftencatalogi--5e/10e eeuw. Periode 0400-0999 ('vroege middeleeuwen') --- Handschriftenkunde. Handschriftencatalogi--5e/10e eeuw. Periode 0400-0999 ('vroege middeleeuwen') --- 091:2 Handschriftenkunde. Handschriftencatalogi-:-Godsdienst. Theologie --- Handschriftenkunde. Handschriftencatalogi-:-Godsdienst. Theologie --- 091.31 <45> Verluchte handschriften--Italië --- Verluchte handschriften--Italië --- Église catholique et art --- Papauté --- Idoles et images --- Art chrétien --- Église orthodoxe --- Iconoclasme. --- Église --- et art --- Culte. --- Symbolisme --- Thèmes, motifs. --- Et l'art --- Église catholique --- Église orthodoxe. --- Jésus-Christ --- Marie --- Dans l'art --- Dans l'art. --- Iconoclasme --- Église catholique et art --- Papauté --- Art chrétien --- Église orthodoxe --- Église --- Thèmes, motifs. --- Église catholique --- Église orthodoxe. --- Jésus-Christ

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“This highly sophisticated collection of essays reveals the intricacies and relevance of (Pseudo-) Dionysius’ thoughts for the church, understood both as a community of the faithful and a place of worship. Interdisciplinary but focused, these erudite essays confirm the semantic and visual complexities of Dionysius’ concepts.” - Jelena Bogdanović, Associate Professor, Iowa State University, USA “This important study of the writings of Pseudo-Dionysius demonstrates for the first time the visual thinking at the core of his theology and how it decisively shaped the art and architecture of Late Antiquity. By putting the visual dimension at the foreground, this compelling book builds a bridge that connects our present culture of the image to the past.” - Bissera V. Pentcheva, Professor of Art History, Stanford University, USA “This book is a welcome addition to the study of the Areopagite’s influence on Christian iconography and aesthetics. Across various media and discourses, Dionysius’s unique contribution to the Byzantine theology of the image is presented in a series of richly perceptive and constructive readings.” - Fr Maximos Constas, Senior Research Scholar, Holy Cross School of Theology, USA This book uses Pseudo-Dionysius and his mystic theology to explore attitudes and beliefs about images in the early medieval West and Byzantium. Composed in the early sixth century, the Corpus Dionysiacum, the collection of texts transmitted under the name of Dionysius the Areopagite, developed a number of themes which have a predominantly visual and spatial dimension. Pseudo-Dionysius’ contribution to the development of Christian visual culture, visual thinking and figural art-making are examined in this book to systematically investigate his long-lasting legacy and influence. The contributors embrace religious studies, philosophy, theology, art, and architectural history, to consider the depth of the interaction between the Corpus Dionysiacum and various aspects of contemporary Byzantine and western cultures, including ecclesiastical and lay power, politics, religion, and art.

Religious studies --- History of civilization --- History --- History of Europe --- History of Asia --- religie --- cultuurgeschiedenis --- geschiedenis --- godsdienst --- Europese geschiedenis --- middeleeuwen --- anno 500-1499 --- Middle East --- Europe

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Ivories, Medieval