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"Explores Shrine Madonnas, late medieval statues of the Virgin Mary that split open to reveal richly carved and painted interiors. Analyzes the changing roles of vision and sensation in the complex performative ways in which audiences engaged with devotional art, both in public and in private"--Provided by publisher.

Christianity --- sculpture [visual work] --- Sculpture --- Iconography --- Christian art and symbolism --- Christian shrines --- Sculpture, Gothic --- Art et symbolisme chrétiens --- Sanctuaires chrétiens --- Sculpture gothique --- History --- Themes, motives --- Histoire --- Thèmes, motifs --- Vierges ouvrantes (Sculpture) --- sculpture [visual works] --- Art et symbolisme chrétiens --- Sanctuaires chrétiens --- Thèmes, motifs --- Christian saints in art --- Sculpture, Medieval --- 7.04 --- Christian holy places --- Holy places, Christian --- Shrines --- Christian pilgrims and pilgrimages --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- 7.04 Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Iconografie. Iconologie. Onderwerpen van kunstzinnige uitbeelding --- Lady altars --- Christian art and symbolism - Europe - Medieval, 500-1500 --- Christian shrines - Europe - History - To 1500 --- Sculpture, Gothic - Themes, motives --- Vierges ouvrantes

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"Sacred and profane, public and private, emotive and ritualistic, internal and embodied, medieval weeping served as a culturally charged prism for a host of social, visual, cognitive, and linguistic performances. Crying in the Middle Ages addresses the place of tears in Jewish, Christian, and Islamic cultural discourses, providing a key resource for scholars interested in exploring medieval notions of emotion, gesture, and sensory experience in a variety of cultural contexts. Gertsman brings together essays that establish a series of conversations with one another, foregrounding essential questions about the different ways that crying was seen, heard, perceived, expressed, and transmitted throughout the Middle Ages. In acknowledging the porous nature of visual and verbal evidence, this collection foregrounds the necessity to read language, image, and experience together in order to envision the complex notions of medieval crying."--

Crying --- Emotions (Philosophy) --- Middle Ages --- Medievalists --- Philosophy --- Weeping --- Emotions --- Nonverbal communication --- History --- Historiography --- Art --- Crying. --- Emotions (philosophy) --- Emotions (philosophy). --- Gesellschaft. --- Kultur. --- Kulturvergleich. --- Künste. --- Literary criticism --- Middle ages --- Mittelalter. --- Weinen (motiv). --- Weinen. --- Medieval. --- Historiography. --- Geschichte 500-1500. --- crying [weeping] --- History of civilization --- art history --- anno 500-1499 --- Pleurs --- Emotions (Philosophie) --- Moyen Age --- Histoire --- Historiographie --- History. --- crying --- cultuurgeschiedenis

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Guided by Aristotelian theories, medieval philosophers believed that nature abhors a vacuum. Medieval art, according to modern scholars, abhors the same. The notion of horror vacui—the fear of empty space—is thus often construed as a definitive feature of Gothic material culture. In The Absent Image, Elina Gertsman argues that Gothic art, in its attempts to grapple with the unrepresentability of the invisible, actively engages emptiness, voids, gaps, holes, and erasures. Exploring complex conversations among medieval philosophy, physics, mathematics, piety, and image-making, Gertsman considers the concept of nothingness in concert with the imaginary, revealing profoundly inventive approaches to emptiness in late medieval visual culture, from ingenious images of the world’s creation ex nihilo to figurations of absence as a replacement for the invisible forces of conception and death. Innovative and challenging, this book will find its primary audience with students and scholars of art, religion, physics, philosophy, and mathematics. It will be particularly welcomed by those interested in phenomenological and cross-disciplinary approaches to the visual culture of the later Middle Ages.

Nothing (Philosophy) in art --- Emptiness (Philosophy) in art --- Absence in art --- Manuscripts, Medieval --- Illumination of books and manuscripts, Medieval --- 091.31 --- 091.14.001 --- 091.14.001 Codices--Structuur --- Codices--Structuur --- 091.31 Verluchte handschriften --- Verluchte handschriften --- Painting, Medieval --- Medieval manuscripts --- Manuscripts --- Aesthetics --- Manuscripts. Epigraphy. Paleography --- anno 500-1499

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Graphic arts --- prints [visual works] --- semiotics --- Christ in the winepress --- anno 1400-1499

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Guided by Aristotelian theories, medieval philosophers believed that nature abhors a vacuum. Medieval art, according to modern scholars, abhors the same. The notion of horror vacui—the fear of empty space—is thus often construed as a definitive feature of Gothic material culture. In The Absent Image, Elina Gertsman argues that Gothic art, in its attempts to grapple with the unrepresentability of the invisible, actively engages emptiness, voids, gaps, holes, and erasures. Exploring complex conversations among medieval philosophy, physics, mathematics, piety, and image-making, Gertsman considers the concept of nothingness in concert with the imaginary, revealing profoundly inventive approaches to emptiness in late medieval visual culture, from ingenious images of the world’s creation ex nihilo to figurations of absence as a replacement for the invisible forces of conception and death. Innovative and challenging, this book will find its primary audience with students and scholars of art, religion, physics, philosophy, and mathematics. It will be particularly welcomed by those interested in phenomenological and cross-disciplinary approaches to the visual culture of the later Middle Ages.