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100   $a20070809d2007      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aContesting the logic of painting$b[electronic resource] $eart and understanding in eleventh-century Byzantium /$fby Charles Barber
210   $aLeiden ;$aBoston $cBrill$d2007
215   $a1 online resource (224 p.)
225 1 $aVisualising the Middle Ages,$x1874-0448 ;$vv. 2
300   $aDescription based upon print version of record.
311   $a90-04-16271-2 
320   $aIncludes bibliographical references (p. [165]-175) and index.
327   $tPreliminary Material /$rC.E. Barber -- $tChapter One. The Synodikon Of Orthodoxy And The Ground Of Painting /$rC.E. Barber -- $tChapter Two. Symeon The New Theologian: Seeing Beyond Painting /$rC.E. Barber -- $tChapter Three. Michael Psellos: Seeing Through Painting /$rC.E. Barber -- $tChapter Four. Eustratios Of Nicaea And The Constraints Of Theology /$rC.E. Barber -- $tChapter Five. Leo Of Chalcedon, Euthymios Zigabenos And The Return To The Past /$rC.E. Barber -- $tAfterword /$rC.E. Barber -- $tBibliography /$rC.E. Barber -- $tIndex /$rC.E. Barber -- $tIllustrations /$rC.E. Barber.
330   $aStudies of the icon in Byzantium have tended to focus on the iconoclastic era of the eighth- and ninth-centuries. This study shows that discussion of the icon was far from settled by this lengthy dispute. While the theory of the icon in Byzantium was governed by a logical understanding that had limited painting to the visible alone, the four authors addressed in this book struggled with this constraint. Symeon the New Theologian, driven by a desire for divine vision, chose, effectively, to disregard the icon. Michael Psellos used a profound neoplatonism to examine the relationship between an icon and miracles. Eustratios of Nicaea followed the logic of painting to the point at which he could clarify a distinction between painting from theology. Leo of Chalcedon attempted to describe a formal presence in the divine portrait of Christ. All told, these authors open perspectives on the icon that enrich and expand our own modernist understanding of this crucial medium.
410  0$aVisualising the Middle Ages ;$vv. 2.
606   $aIcons, Byzantine
606   $aImage (Theology)
607   $aByzantine Empire$xChurch history
608   $aElectronic books.
615  0$aIcons, Byzantine.
615  0$aImage (Theology)
676   $a704.9/48209495
700   $aBarber$b Charles$f1964-$0621224
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910453546703321
996   $aContesting the logic of painting$92197994
997   $aUNINA