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Diable --- Art chrétien médiéval --- Cathédrales

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Architecture romane --- Architecture gothique --- Architecture chrétienne --- Architecture médiévale --- Églises --- Cathédrales --- Art chrétien médiéval

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Que dire encore aujourd'hui des Rois mages que nous reconnaissons sans difficulté en tête de caravanes chargées des richesses de l'Orient ? Et si ces Rois mages étaient en réalité venus d'Occident ? Si les Mages avaient été couronnés non dans leurs lointaines contrées, mais dans les royaumes de l'Europe féodale ? Le livre propose de suivre le voyage des Mages à travers une tradition plus que millénaire, jusque dans les sculptures, peintures murales et vitraux des églises des Xe-XIIe siècles. À une étape de ce voyage, les magiciens païens ont reçu le plus haut insigne qui soit, la couronne royale. C'est en tant que rois et mages qu'ils prennent corps dans les consciences et dans les arts. En scrutant toutes les modifications des images dans le temps, des plus remarquables aux plus inaperçues, et en les étudiant à la lumière des textes, du rituel et de la place des décors dans l'architecture, l'auteur invite à sonder l'imaginaire de la société féodale pour découvrir ce qui fascine les populations de ce temps chez ces trois hommes. La réponse ne se trouve ni en Orient ni dans les récits légendaires mais dans la signification de leur acte de charité : un don à un enfant qui est une offrande à Dieu. --Quatrième de couverture

Féodalité --- Iconographie biblique. --- Rois mages. --- Christian art and symbolism --- Rois mages --- Art chrétien médiéval --- Magi. --- Thèmes, motifs. --- Themes, motives. --- Dans l'art. --- In art

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Reliquaries, one of the central art forms of the Middle Ages, have recently been the object of much interest among historians and artists. Until now, however, they have had no treatment in English that considers their history, origins, and place within religious practice, or, above all, their beauty and aesthetic value. In Strange Beauty, Cynthia Hahn treats issues that cut across the class of medieval reliquaries as a whole. She is particularly concerned with portable reliquaries that often contained tiny relic fragments, which purportedly allowed saints to actively exercise power in the world. Above all, Hahn argues, reliquaries are a form of representation. They rarely simply depict what they contain; rather, they prepare the viewer for the appropriate reception of their precious contents and establish the "story" of the relics. They are based on forms originating in the Bible, especially the cross and the Ark of the Covenant, but find ways to renew the vision of such forms. They engage the viewer in many ways that are perhaps best described as persuasive or "rhetorical," and Hahn uses literary terminology--sign, metaphor, and simile--to discuss their operation. At the same time, they make use of unexpected shapes--the purse, the arm or foot, or disembodied heads--to create striking effects and emphatically suggest the presence of the saint.

Reliquaries. --- Christian art and symbolism -- Medieval, 500-1500 --- Christian art and symbolism --- Reliquaries --- Representation (Philosophy) --- Representationalism (Philosophy) --- Representationism (Philosophy) --- Culture --- Philosophy --- Relics and reliquaries --- Containers --- Religious articles --- Shrines --- Representation (Philosophy). --- Art chrétien médiéval --- Symbolisme chrétien --- Reliquaires --- Art et symbolisme chrétiens --- Représentation (Philosophie) --- Art chrétien médiéval. --- Symbolisme chrétien.

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Come ben sapevano i predicatori medievali, delle due grandi leve del comportamento umano ? la paura del castigo e la speranza del premio ? la più efficace era la prima. Di qui, allora, lo sviluppo di immagini dell?Inferno che fra Tre e Quattrocento sono sempre più complesse e crude, così da turbare gli animi e smuovere le coscienze. Ma in che direzione? E a quale scopo? La domanda è assai meno scontata di quanto non possa apparire. Dal momento, infatti, che gli exempla negativi avevano senso solo in funzione di quelli positivi, il grande teatro dei reprobi si prestava anche ad una lettura al contrario, in cui le figure dei peccatori, lungi dal costituire solo un terribile ammonimento, indirizzavano il fedele verso atteggiamenti speculari e opposti a quelli puniti.0La critica si faceva insomma proposta, complici le scelte iconografiche di artisti e committenti (comunità, privati, confraternite, ordini religiosi, ecc.), che attraverso il tema dell?Inferno potevano esprimere i propri ideali di convivenza civile.

Hell in art --- Sin in art --- Judgment Day in art --- Mural painting and decoration, Italian --- Mural painting and decoration, Medieval --- Enfer --- Péché (religion) --- Art chrétien médiéval --- Moyen Age --- Iconographie