Pictorial myth reception in the middle ages and modern art historiography's discourse of periodization

这个项目旨在分析现代艺术史学的一个基本解释模式，调查其有效性，并讨论其替代方案：中世纪古典古代神灵的所谓生存(Nachleben)。它质疑一个与生存概念密切相关的基本史学思想：同时历时地投射特定文化的根源和特定历史时期的根本变化。这种对立的立场被提出用于中世纪对罗马古代异教文化的引用；它也被提升为反对文艺复兴的显著标志。鉴于中世纪对古代的最大程度的改变被归因于它对形象崇拜(偶像崇拜)的态度，该项目将专注于对古典古代神灵的图画接受。19世纪和20世纪接受古代的艺术史研究，在很大程度上同意了生命主义的生存概念，被作为该项目的起点，该项目将通过两条道路追求其目标--历史上适当的解释：(1)现代生存概念将基于相关时期的有影响力的文本，通过显性和隐性的文化和分期模式进行分析。同时，还将考察所建议的反对古代的中世纪接受模式在多大程度上反映了现代艺术史与其设计时期之间的关系，特别是各自的中庸概念以何种方式服务于现代自我定位。(2)该项目将研究具有代表性的中世纪艺术传播范例及其特定的历史条件和接受意图，以构思和讨论生机勃勃的概念的可能替代方案。特别强调对主导学术话语的所谓析取原则的批判性分析和检验。根据这一原则，古典艺术的形式和内容(或主题和主题)在中世纪已经分崩离析，直到现代才融合在一起。

This project intends to analyse a fundamental explanatory model of modern art historiography, to investigate its validity and to discuss its alternatives: the so-called survival (Nachleben) of the deities of classical antiquity in the middle ages. It questions an essential historiographical idea that is closely related with concepts of the survival: the simultaneous diachronic projection of the roots of a certain culture and of a radical alterity onto a specific historical period. Such an antithetical position has been proposed for medieval references to pagan culture of Roman antiquity; it has also been elevated to a distinguishing mark against the Renaissance. Given that the middle ages' highest degree of alterity towards antiquity has been ascribed to it's attitude to image-worshipping (idolatry), the project will focus on the pictorial reception of deities of classical antiquity. The 19th and 20th century art-historical research of the reception of antiquity, which to a greater part has agreed on vitalistic concepts of a survival, is taken as a starting point for the project, which will pursue its goal - a historically appropriate explanation - on two paths: (1) Modern concepts of the survival will be analysed on the basis of influential texts from the relevant period in terms of explicit and implicit models of culture and periodisation. At the same time it will be examined to what extent the suggested medieval reception patterns against antiquity reflect the relationship between modern art history and the periods of its devising, in particular in which way the respective concept of medievality served to a modern self-positioning. (2) The project will examine a representative selection of examples of artistic transmissions into the middle ages and their specific historic conditions and intentions of reception to conceive and discuss possible alternatives to the vitalistic concepts. Particular emphasis is given to the critical analysis and examination of the so-called principle of disjunction, which has dominated the scholarly discourse. According to this principle, form and content (or subject and theme) of classical art have fallen apart in the middle ages and were only brought together in the modern era.