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

本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：中世纪古典古代神的所谓生存（Nachleben）。它质疑了一个与生存概念密切相关的基本史学观念：将某种文化的根源和激进的另类同时历时投射到特定的历史时期。这样一个对立的立场已经提出了中世纪的参考罗马古代的异教文化，它也被提升为一个区别于文艺复兴的标志。考虑到中世纪对古代的最高程度的改变被归因于它对图像崇拜（偶像崇拜）的态度，该项目将集中在古典古代神的图像接受。19和20世纪艺术史对古代接受的研究，在很大程度上同意生存的活力主义概念，被视为该项目的起点，该项目将在两条道路上追求其目标-一个历史上适当的解释：（1）现代生存概念将根据相关时期的有影响力的文本，从文化和分期的显性和隐性模式方面进行分析。与此同时，我们将考察中世纪对古代的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，特别是中世纪的相应概念如何服务于现代的自我定位。(2)该项目将研究一个有代表性的选择的例子，艺术传播到中世纪和他们的具体历史条件和接受的意图，构思和讨论可能的替代方案的活力主义的概念。特别强调的是，所谓的分离原则，这已占主导地位的学术话语的批判性分析和检查。根据这一原则，古典艺术的形式和内容（或主题和主题）在中世纪就已经分崩离析，直到现代才重新融合在一起。

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.