Iconophilia and Ornamenta Ecclesiae in Global Rome, AD 600-900. Patterns of Papal Patronage concerning Images, Objects and Ornaments

该研究项目旨在通过对中世纪早期图像问题的当前叙述进行概念上的重新定位和扩展，为艺术和图像制作研究视角的可持续文化间更新做出贡献。在批评的背景下，植根于旧约的禁止图像，教皇（公元600-900）的偶像的立场被释放，从以前的graecocentric的角度来看，并作为一个独立的，文化动态的传统，在更广泛的使用ecclesiae。两个主题的焦点是连接：第一部分偶像崇拜和图像的关键反应。文本传统提供了一个系统的调查书面文件的教皇声明和活动的问题上的图像，直接和间接流传下来。基于对教会装饰的术语及其概念背景的分析，第二部分《教会装饰：关于图像、物体和装饰的教皇庇护模式》从地形和神圣美学的角度考察了教堂装饰的图案、物体和装饰曲目（祭坛、圣像、vasa sacra、皇帝和教皇的图像）。

The research project aims at a contribution to a sustainable intercultural update of art and image-making research perspectives, through a conceptual reorientation and expansion of current narratives on the question of images of the early Middle Ages. Against the background of criticism rooted in the Old Testamtent's ban on images, iconophilic positions of the popes (AD 600-900) are released from the previous graecocentric perspective and examined as an independent, culturally dynamic tradition within the broader use of ornamenta ecclesiae. Two thematic focal points are connected:Part I Iconophilia and Critical Response to Images. The Textual Tradition offers a systematic investigation of written documents of papal statements and activities on the question of images, both directly and indirectly handed down. Based on an analysis of the terminology of ornamenta ecclesiae and its conceptual background, Part II Ornamenta Ecclesiae: Patterns of Papal Patronage concerning Images, Objects and Ornaments examines the pictorial, object and ornamental repertoire of church furnishings (altars, imagines sacrae, vasa sacra, images of the emperor and the pope) with regard to their topography and sacral-aesthetic dimensions.