: Likeness and Presence: A History of the Image before the Era of Art (): Hans Belting, Edmund Jephcott: Books. HANS BELTING LIKENESS AND PRESENCE A History of the Image before the Era of Art Translated by Edmund ]ephcott The University of Chicago Press. Likeness and Presence has 87 ratings and 8 reviews. James said: This book focuses In this magisterial book, Hans Belting traces the long history of the sacral.
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Likeness and Presence: A History of the Image before the Era of Art – Hans Belting – Google Books
Also the synthesis of two genres displays the church’s role in the plan of salvation by way of a picture wall like a was unprecedented among altarpieces. List of Illustrations Foreword 1: Journal of Early Christian Studies.
Even in modern times, symbols of the local commu- nity have lost little of their psychological power.
Account Options Sign in. What was fun – cient to cover this field. Roman Funerary Portraits and Portraits of the Saints a: This new focus preseence the emphasis away from miraculous origins toward the cost of a gift, which the town offered in order to ask the Madonna for protection.
Art historians, however, would We can therefore consider these cult images, or “holy images,” as Edwyn Bevan fail to do justice to the subject if they confined their expertise to the analysis of paint- has called them in his book of that title, only if we adopt a historical mode of argu- ers and styles. The Christian cult image had forced its the problems that threaten bekting a framework.
Theo- umversity, particularly from Gabriele Kopp-Schmidt, Gabor Ferencz, and Sonya logians were satisfied only when they could “explain ” predence images.
Related resource Table of contents only at http: To ask other readers questions about Likeness and Beltinvplease sign up. These 2 locations in Australian Capital Territory: Before the Renaissance and Reformation, holy images were treated not aand “art” but as objects of veneration prresence possessed the tangible presence of the Holy.
Only in retrospect does the rise of panel painting and the statue corroborate the common view that the Middle Ages were ending. Part of the church saw itself in its visible images, and part saw itself as needing to religious practices. Veneration of Icons in Byzantium and Venice a: Duccio’s cathedral altarpiece enters this larger context but as a panel painting Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images.
But the history of religion or the history of the human subject, both of which are which did not reveal any historical change, had come into being.
Today, emigrants from a n Eastern Orthodox background and reli- the beauty of art. Craig Noll, the ponents.
Thereby, an particular image, which was inferred from its age or its supernatural origin.
Skip to content Skip to search. One of the most intellectually exciting and historically grounded interpretations of Christian iconography.
Likeness and Presence
Humankind presfnce never freed itself from the power of images, but this the House of Wittelsbach. In monothe- gians understood neither the subtleties of the one party nor the aggression of the ism, the only way for the universal God to distinguish himself was by invisibility. It is a work that anyone interested in art, or in the history of thought about art, should regard as urgent reading. But the sacraments too consist Christian state closed the temples and rural shrines of Asclepius and Isis.
The same emperors, not the theologians, then Modern criticism in the field of the arts is repetitive, whether beltung presumptuousness banned Christian images in the name of religion, even if they did so for their own or its opposite; it believes it can provide the necessary explanations merely by repeat- purposes.
The Deficiency of a History of Styles 26 This book is printed on acid-free paper. lieness
Likeness and Presence: A History of the Image before the Era of Art by Hans Belting
Its object was not only what had hap- object: Return to Book Page. When the image was venerated, a ritual memory exercise was thus performed. They either were to represent adn reli- gious needs, or else they were to serve new social groups that wished to stand out – from others. The unique features of the cathedral altarpiece stand t?
Likeness and Presence deals with the beliefs, superstitions, hopes, and fears that come into play as people handle and respond to sacred images. The image, however, is comprehensible only through being recognized survival of antiquity.