Likeness and Presence: A History of the Image before the Era of Art
Likeness and Presence: A History of the Image before the Era of Art
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相似与在场：艺术时代之前的图像史
DOI：
10.5860/choice.32-1318
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发表时间：
1994
期刊：
影响因子：
--
通讯作者：
E. Jephcott
中科院分区：
文献类型：
--
作者：
H. Belting;E. Jephcott
插图列表 前言 1：简介 a：图像的力量和神学家的局限性 b：肖像与记忆 c：图像力量的丧失及其作为艺术的新角色 2：现代视角及其历史的圣像 a：《阿索斯山画家手册》和浪漫主义 b：圣像在俄罗斯的重新发现 c：作为圣像继承人的意大利板画 d：罗马和圣山的发现西奈半岛：图标历史的问题：风格历史的缺陷 3：为什么是图像？古代晚期的图像和宗教 a： 圣母玛利亚的圣像 图像类型及其含义 b： 圣母玛利亚的人格形成过程： 上帝之母和诸神之母 c： 异教图像和基督教图像 d： 为什么是图像？ 4：天上的图像和尘世的肖像：圣卢克的画像和罗马和东罗马帝国的“未画”原作 a：未画的基督图像和触摸文物 b：圣路加的圣母图像和肖像的概念 c：私人和公共生活中的文物和图像 d：罗马教皇的早期圣像 e：君士坦丁堡“Hodegetria”的图像 5：罗马葬礼肖像和圣徒肖像a：异教和基督教的图像崇拜 b：圣人图像的起源 c：崇拜图像和奉献图像 d：丧葬肖像和圣像 e：古代肖像中的理想主义和现实主义 6：古代帝国图像和基督教图像崇拜问题 a：帝国图像的崇拜 b：皇帝本人及其图像的法律地位 c：军旗和作为图像承载者的十字架 d：国家中的基督图像图像学 7：古代末期的图像奉献、公共关系和神学 a：罗马教堂的墙壁图像 b：罗马早期的镶板和图像风格的问题 c：教皇库里亚的图像和政治 d：早期图像的风格和惯例 e：宫廷的图像和政治：基督硬币 f：图像和神学论证 8：教会和图像：教会的教义和反传统a: 基督教世界中的图像 b: 拜占庭反圣像主义 c: 图像理论及其传统 d: 图像与符号、圣像与十字架 9: 教堂装饰中的圣像和新的图像政策 a: 宫廷在重新引入图像中的作用 b: 圣索菲亚大教堂的主教佛蒂斯 c: 宫廷教堂中的新绘画方案 d: 教堂装饰：图像的应用理论 e: 礼拜仪式和教堂内部图像 10：朝圣者、皇帝和兄弟会：拜占庭和威尼斯的圣像崇拜 a：皇帝 b：兄弟会和游行 c：圣索菲亚大教堂朝圣和游客计划 d：威尼斯圣马可及其圣像 11：“圣面”：竞赛中的传说和图像 a：阿布加尔图像的“原件”及其传说 b：阿布加尔图像君士坦丁堡和理想肖像的新美学 c: 罗马的维罗妮卡 12: 圣像屏风以及圣像在礼拜仪式和私人奉献中的作用 a: 教堂内部和圣像所在地 b: 教堂仪式中的十字架、福音书和圣像 c: 还愿图像作为救赎的工具和纪念捐赠者 d: 作为圣像屏风的圣坛屏幕 e: 日历图标和传记标志 13：“活的绘画”：十一、十二世纪新风格的诗歌和修辞 a：“新风格的图标” b：美学、伦理和神学 c：变化社会中的诗性连续性 d：受难与图像真实性的悖论 e：画诗与论着：四人的叙事结构节日图标 f：圣母的新图像 14：雕像、器皿和标志：西方的中世纪图像和文物 a：西方图像崇拜的不同前提 b：作为身体图像的例子的被钉十字架和登基雕像 c：文物与图像的关系 d：神学美学？ e：关于“原作”的传说以及图像与人物之间的区别 15：罗马公民生活中的圣像 a：中世纪盛期的图像和制度 b：旧圣像的新角色：麦当娜作为罗马人民的代言人 c：麦当娜的竞争 d：“原作”和八月游行的倍增 16：“希腊风格”：西方的进口圣像 a：东方起源：理念与现实 b：布拉格宫廷及其圣像 c：图像向意大利的迁移 d：文艺复兴历史传说中圣路加的圣像 17：规范与自由：托斯卡纳城市时代的意大利圣像 a：东西方比较：什么是图像？ b：新型图像的介绍 c：圣像和虔诚图像：手势语言 d：“Maniera greca”和“Dolce stil nuovo”：杜乔和圣像 18：锡耶纳的圣母：城市生活中的图像 a：比萨托钵僧团的盛宴图像 b：锡耶纳和佛罗伦萨的兄弟会面板 c：祭坛画 d：杜乔在锡耶纳大教堂祭坛画中的综合 19：与图像的对话：中世纪末私人图像的时代 a：神秘主义与奉献实践中的图像 b：宫廷中的奉献图像和珠宝 c：竞赛中的视觉媒体：面板绘画和版画 d：圣像美学中的古风和引用 e：作为圣像舞台的有翼祭坛画公共形象 f：《雷根斯堡圣母朝圣》 20：宗教与艺术：近代初期的图像危机 a：宗教改革时期对图像的批判与破坏 b：新学说中的图像与文字 c：文艺复兴绘画中的图像与艺术 d：对拉斐尔《西斯廷圣母》的争议 e：艺术作为当时图像的场面调度反宗教改革附录。关于图像和文物的历史和使用的文本 注释 参考书目 人物和地点索引 主题索引 照片来源
List of Illustrations Foreword 1: Introduction a: The Power of Images and the Limitations of Theologians b: Portrait and Memory c: The Images' Loss of Power and Their New Role as Art 2: The Icon from a Modern Perspective and in Light of Its History a: The "Painter's Manual of Mount Athos" and Romanticism b: The Rediscovery of the Icon in Russia c: Italian Panel Painting as the Heir to the Icon d: The Discoveries in Rome and at Mount Sinai e: Problems with a History of the Icon: The Deficiency of a History of Styles 3: Why Images? Imagery and Religion in Late Antiquity a: The Virgin's Icon Icon Types and Their Meaning b: The Virgin's Personality in the Making: The Mother of God and the Mother of the Gods c: Pagan Images and Christian Icons d: Why Images? 4: Heavenly Images and Earthly Portraits: St. Luke's Picture and "Unpainted" Originals in Rome and the Eastern Empire a: Unpainted Images of Christ and Relics of Touch b: St. Luke's Images of the Virgin and the Concept of the Portrait c: Relic and Image in Private and Public Life d: Early Icons in Papal Rome e: The Image of the "Hodegetria" in Constantinople 5: Roman Funerary Portraits and Portraits of the Saints a: Pagan and Christian Cults of Images b: The Origin of Saint's Images c: Cult Image and Votive Image d: Funerary Portraits and Icons e: Idealism and Realism in the Ancient Portrait 6: The Imperial Image in Antiquity and the Problem of the Christian Cult of Images a: The Worship of the Imperial Image b: The Emperor's Person and the Legal Status of His Image c: The Military Standard and the Cross as Bearers of Images d: Images of Christ in State Iconography 7: Image Devotion, Public Relations, and Theology at the End of Antiquity a: Wall Icons in a Roman Church b: Early Panels in Rome and the Problem of an Iconic Style c: Image and Politics at the Papal Curia d: Styles and Conventions of the Early Icon e: Icons and Politics at the Imperial Court: The Christ Coin f: Icons and Theological Argument 8: Church and Image: The Doctrine of the Church and Iconoclasm a: The Image in Christendom b: Byzantine Iconoclasm c: The Theory of Images and Its Traditions d: Image and Sign, Icon and Cross 9: The Holy Image in Church Decoration and a New Policy of Images a: The Role of the Imperial Court in the Reintroduction of Images b: Patriarch Photius in Hagia Sophia c: New Pictorial Programs in Churches of the Court d: Church Decoration: An Applied Theory of Images e: Liturgy and Images in Church Interiors 10: Pilgrims, Emperors, and Confraternities: Veneration of Icons in Byzantium and Venice a: The Emperors b: Confraternities and Processions c: Pilgrimages and the Program for Visitors to Hagia Sophia d: San Marco in Venice and Its Icons 11: The "Holy Face": Legends and Images in Competition a: The "Original" of the Abgar Image and Its Legend b: The Abgar Image at Constantinople and a New Aesthetics of the Ideal Portrait c: The Veronica in Rome 12: The Iconostasis and the Role of the Icon in the Liturgy and in Private Devotion a: The Church Interior and the Site of the Images b: Cross, Gospel Book, and Icon in Church Ritual c: Votive Images as Instruments of Salvation and as Commemorations of the Donor d: The Chancel Screen as Iconostasis e: Calendar Icons and Biographical Icons 13: "Living Painting": Poetry and Rhetoric in a New Style of Icons in the Eleventh and Twelfth Centuries a: "Icons in the New Style" b: Aesthetics, Ethics, and Theology c: Poetic Continuity in a Changing Society d: The Paradox of the Crucifixion and the Reality of the Image e: Painted Poetry and Treatises: The Narrative Structures of Four Feast-Day Icons f: New Images of the Virgin 14: Statues, Vessels, and Signs: Medieval Images and Relics in the West a: The Different Premises of Image Worship in the West b: The Crucified and the Enthroned Statue as Examples of the Bodily Image c: The Relation of Relic and Image d: A Theological Aesthetic? e: Legends about "Originals" and the Distinction between Image and Persons 15: The Icon in the Civic Life of Rome a: Images and Institutions in the High Middle Ages b: An Old Icon in a New Role: The Madonna as Advocate of the Roman People c: The Competition of the Madonnas d: The Multiplication of an "Original" and the August Procession 16: "In the Greek Manner": Imported Icons in the West a: The Eastern Origin: Idea and Reality b: The Imperial Court in Prague and Its Icons c: The Migration of Images to Italy d: Icons by St. Luke in the Historical Legends of the Renaissance 17: Norm and Freedom: Italian Icons in the Age of the Tuscan Cities a: East and West in Comparison: What Is an Image? b: The Introduction of New Types of Images c: Icon and Devotional Image: The Language of Gestures d: "Maniera greca" and "Dolce stil nuovo": Duccio and the Icon 18: The Madonnas of Siena: The Image in Urban Life a: Feast Images of the Mendicant Orders in Pisa b: The Panels of the Confraternities in Siena and Florence c: The Altarpiece d: Duccio's Synthesis in the Altarpiece for Siena Cathedral 19: The Dialogue with the Image: The Era of the Private Image at the End of the Middle Ages a: Mysticism and the Image in the Practice of Devotion b: Devotional Images and Jewelry at the Courts c: Visual Media in Competition: Panel Paintings and Prints d: Archaism and Quotation in the Aesthetics of the Holy Image e: The Winged Altarpiece as the Stage of the Public Image f: The Pilgrimage to the Fair Virgin of Regensburg 20: Religion and Art: The Crisis of the Image at the Beginning of the Modern Age a: Criticism and Destruction of Images during the Reformation b: Image and Word in the New Doctrine c: Image and Art in Renaissance Painting d: The Controversy over Raphael's Sistine Madonna e: Art as the Mise-en-scene of the Image at the Time of the Counter-Reformation Appendix. Texts on the History and Use of Images and Relics Notes Bibliography Index of Persons and Places Index of Subjects Photo Credits