03557nam 2200649 a 450 991078222980332120200520144314.01-281-93989-7978661193989290-474-3161-810.1163/ej.9789004162716.i-206(CKB)1000000000550388(EBL)467909(OCoLC)646789929(SSID)ssj0000129892(PQKBManifestationID)11142512(PQKBTitleCode)TC0000129892(PQKBWorkID)10080682(PQKB)10804554(MiAaPQ)EBC467909(OCoLC)166255065(nllekb)BRILL9789047431619(Au-PeEL)EBL467909(CaPaEBR)ebr10271084(CaONFJC)MIL193989(PPN)174390297(EXLCZ)99100000000055038820070809d2007 uy 0engur|n|---|||||txtccrContesting the logic of painting[electronic resource] art and understanding in eleventh-century Byzantium /by Charles BarberLeiden ;Boston Brill20071 online resource (224 p.)Visualising the Middle Ages,1874-0448 ;v. 2Description based upon print version of record.90-04-16271-2 Includes bibliographical references (p. [165]-175) and index.Preliminary Material /C.E. Barber -- Chapter One. The Synodikon Of Orthodoxy And The Ground Of Painting /C.E. Barber -- Chapter Two. Symeon The New Theologian: Seeing Beyond Painting /C.E. Barber -- Chapter Three. Michael Psellos: Seeing Through Painting /C.E. Barber -- Chapter Four. Eustratios Of Nicaea And The Constraints Of Theology /C.E. Barber -- Chapter Five. Leo Of Chalcedon, Euthymios Zigabenos And The Return To The Past /C.E. Barber -- Afterword /C.E. Barber -- Bibliography /C.E. Barber -- Index /C.E. Barber -- Illustrations /C.E. Barber.Studies of the icon in Byzantium have tended to focus on the iconoclastic era of the eighth- and ninth-centuries. This study shows that discussion of the icon was far from settled by this lengthy dispute. While the theory of the icon in Byzantium was governed by a logical understanding that had limited painting to the visible alone, the four authors addressed in this book struggled with this constraint. Symeon the New Theologian, driven by a desire for divine vision, chose, effectively, to disregard the icon. Michael Psellos used a profound neoplatonism to examine the relationship between an icon and miracles. Eustratios of Nicaea followed the logic of painting to the point at which he could clarify a distinction between painting from theology. Leo of Chalcedon attempted to describe a formal presence in the divine portrait of Christ. All told, these authors open perspectives on the icon that enrich and expand our own modernist understanding of this crucial medium.Visualising the Middle Ages ;v. 2.Icons, ByzantineImage (Theology)Byzantine EmpireChurch historyIcons, Byzantine.Image (Theology)704.9/48209495Barber Charles1964-621224MiAaPQMiAaPQMiAaPQBOOK9910782229803321Contesting the logic of painting3678053UNINA