Brigitte Langer, Thomas Rainer (eds.), Kunst & Glaube. Ottheinrichs Prachtbibel und die Schlosskapelle Neuburg, Munich/Regensburg, 2016
In 1543, after his conversion to Protestantism, Ottheinrich of Pfalz-Neuburg (1502-1559) had his ... more In 1543, after his conversion to Protestantism, Ottheinrich of Pfalz-Neuburg (1502-1559) had his Neuburg Palace Chapel painted with a biblical picture cycle – a kind of large-scale picture Bible. It was the first Protestant painting of monumental dimensions, making the Neuburg palace chapel the oldest Protestant church building in Germany. The paper shows the influence of printed picture Bibles intended for a lay audience and used as a manual for the artists on the development of Protestant church decoration. It highlights a specific visual culture opposed to radical iconoclasm in Lutheranism.
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Le but de l’ouvrage est de mettre en lumière certains aspects du rôle multimodal qu’a joué le livre depuis l’antiquité jusqu’à aujourd’hui. Autrement dit, ce volume se concentre sur le livre en tant qu’objet patrimonial, objet rituel, vecteur de connaissance, document historique, lieu d’interaction entre texte et image, entre patrimoine matériel et patrimoine immatériel, où les révolutions technologiques rencontrent les courants historiques, théologiques et artistiques, mais aussi en tant que source perpétuelle d’inspiration pour la création artistique.
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When, how, and under what circumstances might book ornament be understood as offensive, and which strategies were employed to avoid such critique or to create books that are ostentatiously ascetic? Since antiquity, philological correctness was opposed to ornament in the rhetorical discourse, which associated an overtly rich language with overblown luxury and female adornment. Already in Roman literature, this gendered discourse was projected onto the material artifacts of writing, a tradition that influenced the varied discussions about the materiality of sacred books and their status in Christian, Islamic and Jewish book cultures from Late Antiquity until the end of the Middle Ages and beyond. In all three religious traditions, this critical discourse about scriptures, script and ornament established connections “between ornamenting bodies, buildings and language, in which fancy forms are rejected in favor of plain, and embellishment opposed to simplicity in a dialect of truth and falsity” (F. B. Flood, in: Clothing Sacred Scriptures, ed. D. Ganz/B. Schellewald, Berlin/Boston 2019, 52). The conference will explore the entire range of such critique of book ornament in Christian, Islamic and Jewish book cultures, and analyzes their specific contexts and semantics, as well as the spaces of negotiation, in which artists, commissioners and users could react to critical allegations without simply obeying them.
Le but de l’ouvrage est de mettre en lumière certains aspects du rôle multimodal qu’a joué le livre depuis l’antiquité jusqu’à aujourd’hui. Autrement dit, ce volume se concentre sur le livre en tant qu’objet patrimonial, objet rituel, vecteur de connaissance, document historique, lieu d’interaction entre texte et image, entre patrimoine matériel et patrimoine immatériel, où les révolutions technologiques rencontrent les courants historiques, théologiques et artistiques, mais aussi en tant que source perpétuelle d’inspiration pour la création artistique.
When, how, and under what circumstances might book ornament be understood as offensive, and which strategies were employed to avoid such critique or to create books that are ostentatiously ascetic? Since antiquity, philological correctness was opposed to ornament in the rhetorical discourse, which associated an overtly rich language with overblown luxury and female adornment. Already in Roman literature, this gendered discourse was projected onto the material artifacts of writing, a tradition that influenced the varied discussions about the materiality of sacred books and their status in Christian, Islamic and Jewish book cultures from Late Antiquity until the end of the Middle Ages and beyond. In all three religious traditions, this critical discourse about scriptures, script and ornament established connections “between ornamenting bodies, buildings and language, in which fancy forms are rejected in favor of plain, and embellishment opposed to simplicity in a dialect of truth and falsity” (F. B. Flood, in: Clothing Sacred Scriptures, ed. D. Ganz/B. Schellewald, Berlin/Boston 2019, 52). The conference will explore the entire range of such critique of book ornament in Christian, Islamic and Jewish book cultures, and analyzes their specific contexts and semantics, as well as the spaces of negotiation, in which artists, commissioners and users could react to critical allegations without simply obeying them.