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Figure and Likeness: On the Limits of Representation in Byzantine Iconoclasm
Figure and Likeness presents a thought-provoking new account of Byzantine iconoclasm--the fundamental crisis in Christian visual representation during the eighth and ninth centuries that defined the terms of Christianity's relationship to the painted image. Charles Barber rejects the conventional means of analyzing this crisis, which seeks its origin in political and other social factors. Instead, he argues, iconoclasm is primarily a matter of theology and aesthetic theory.
Working between the theological texts and the visual materials, Barber demonstrates that in challenging the validity of iconic representation, iconoclasts were How can an image depict an incomprehensible God? In response, iconophile theologians gradually developed a notion of representation that distinguished the work of art from the subject it depicted. As such, Barber concludes, they were forced to move the language describing the icon beyond that of theology. This pivotal step allowed these theologians, of whom Patriarch Nikephoros and Theodore of Stoudios were the most important, to define and defend a specifically Christian art.
In highlighting this outcome and also in offering a full and clearly rendered account of iconoclastic notions of Christian representation, Barber reveals that the notion of art was indeed central to the unfolding of iconoclasm. The implications of this study reach well beyond the dispute it considers. Barber fundamentally revises not only our understanding of Byzantine art in the years succeeding the iconoclastic dispute, but also of Christian painting in the centuries to come.
Working between the theological texts and the visual materials, Barber demonstrates that in challenging the validity of iconic representation, iconoclasts were How can an image depict an incomprehensible God? In response, iconophile theologians gradually developed a notion of representation that distinguished the work of art from the subject it depicted. As such, Barber concludes, they were forced to move the language describing the icon beyond that of theology. This pivotal step allowed these theologians, of whom Patriarch Nikephoros and Theodore of Stoudios were the most important, to define and defend a specifically Christian art.
In highlighting this outcome and also in offering a full and clearly rendered account of iconoclastic notions of Christian representation, Barber reveals that the notion of art was indeed central to the unfolding of iconoclasm. The implications of this study reach well beyond the dispute it considers. Barber fundamentally revises not only our understanding of Byzantine art in the years succeeding the iconoclastic dispute, but also of Christian painting in the centuries to come.
- GenresArt
208 pages, Hardcover
First published September 23, 2002
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December 31, 2009
Byzantine Iconoclasm would not be interesting if it were not for Charlie Barber. I was amused by the first line of the book. He states it is reasonable to ask if the issue he is addressing is an issue proper to the field of art history. If it were not for Charlie's ability to compose his thoughts in a proper and tidy format he would be a mad genius. The polish hides the radical departure from conventional thought.
Displaying 1 of 1 review