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Rhetorical images of the Virgin : the icon of the "usual miracle" at the Blachernai / Bissera V. Pentcheva
Auteur:Pentcheva, Bissera V Sujet RERO:Icônes (art)
- Marie (mère de Dieu) - culte Publication en relation:
In: Res : Anthropology and aesthetics. - New York. - 2000, no 38, p. 35-55
Document hôte:Res No RERO:
Titre: Optical and Acoustic Aura in the Medieval Image: The Golden Retable of the Pentecost at Stavelot Auteur:Pentcheva, Bissera V Sujet:Light ; Aura ; Chant ; Reverberation ; Aesthetics ; Visual Arts Description:
This study explores optical and sonic brightness-aura-in the medieval church interior by focusing on one object: the golden retable of the Pentecost at Stavelot (Belgium). Its metal surface changes and becomes radiant in candlelight, in contrast to its static and dormant presence in the steady electric light of the standard museum display. This phenomenon-ephemeral brightness-was purposefully activated in the medieval ritual in order to offer the faithful an optical experience of the divine. Phenomenal aura exemplifies how matter imbued by the Spirit becomes alive, purified and perfected. The subject matter of the retable, a scene of Pentecost, further inscribed this descent of Pneuma in the visible. Its in-dwelling causes a return (choros) to the image of God. Thus, the enlightened apostles begin to mirror the imago Christi. The retable further links optical luminosity with sonic aura by means of a chant inscribed on the panel. The way the bright tones of this melody are spatialized...
Fait partie de:
Material religion, 01 January 2020, Vol.16(1), pp.9-40
1743-2200 (ISSN); 1751-8342 (E-ISSN); 10.1080/17432200.2019.1696558 (DOI)
Titre: Painting or relief: The ideal icon in iconophile writing in Byzantium Auteur:Pentcheva Bissera V Sujet:Visual Arts Description:
This text is focused on the transformation of the definition of the icon in Byzantine image theory from an identification of graphe with painting in the writings of John of Damascus (ca. 675-754) to the equation of graphe with typos understood as the imprint of an intaglio on matter in the theory of Theodore Studies (759-826). The virtues of painting, therefore, are that its masters see their works admired and feel themselves to be almost like the Creator. Is it not true that painting is the mistress of all the arts or their principal ornament? If I am not mistaken, the architect took from the painter architrave's, capitals, bases, columns and pediments, and all other fine features of buildings. The stonemason, the sculptor, and all the workshops and crafts of artificers are guided by the rule and art of the painter. Indeed hardly any art, except the very meanest, can be found that does not somehow pertain to painting. So I would venture to assert that whatever beauty there is...
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Zograf : časopis za srednjovekovnu umetnost, 01 January 2006, Vol.2006-2007(31), pp.7-14
0350-1361 (ISSN); 10.2298/ZOG0731007P (DOI)
Titre: Sound and Space in Renaissance Venice: Architecture, Music, Acoustics (Book Review) Auteur:Pentcheva, Bissera V. Sujet:Constantinople ; Acoustics ; Architecture ; Sound ; Musical Recordings ; Studies ; History ; Historians ; Engineers ; Music ; Authorial Voice ; Music ; Acoustic Analysis ; MIT Press ; Stanford University; Description:
Since both authors acknowledge die impossibility of absolute authenticity of performance, they structure their study and in situ experiments comparatively, exploring relative values such as how a set piece of music sounds in different locations in the same church and/or in other contemporary churches of different size and materials. Each church is treated as a separate catalog entry, containing a brief architectural history involving archival research, which chronicles the stages of construction, original design, and later changes; an analysis of acoustic measurements; and, finally, the recording of St. John's College Choir in different locations, usually in the retrochoir (the space behind the altar outfitted with wooden stalls for the monks and choristers), chancel, nave, and/or a side chapel, performing polyphony and plainchant, along with pure instrumental organ music.
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The Art Bulletin, 1 December 2011, Vol.93(4), pp.489-491