Drawing on quite a number philosophical and theological writings produced in eleventh-century Byzantium, this ebook deals a studying of the icon and Byzantine aesthetics that not just expands our knowing of those themes yet demanding situations our assumptions concerning the murals itself.
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Extra resources for Contesting the Logic of Painting
Vladimir’s Seminary Press, 1995): 21–80. 11 Traités: 8–13. 1–11; Golitzin, On the Mystical Life, vol. 1: 21. 133; Golitzin, On the Mystical Life, vol. 1: 24–26. 31; Golitzin, On the Mystical Life, vol. 1: 27. 52–54; Golitzin, On the Mystical Life, vol. 1: 28. 8–18; Golitzin, On the Mystical Life, vol. 1: 31. 94–96; Golitzin, On the Mystical Life, vol. 1: 34. ”18 This is a somewhat paradoxical proposition. For, while the incarnation has allowed one to see God incarnate in Christ, the vision that is presented by Symeon is one that surpasses the normal constraints on human perception.
Gouillard’s text provides a few improved readings of this earlier edition: lines 1–183, 753–762, and 767–770. Since the publication of Gouillard’s edition a German translation of a Georgian version of the primitive Synodikon text has been published. 62 This witness allows us to glimpse the text prior to the changes that began to be made to it in the second-half of the eleventh and to which we shall return later in this study. What the text betrays is an understanding that Orthodoxy has its origins in the correct interpretation of Christ’s icon.
The Àrst anathema reiterates this, but emphasizes the particular value of images as witnesses to the incarnation. Hence, it condemns those that claimed to accept verbal witness of the incarnation, while denying visual witness. 74 This point is extended in the second blessing, which praises those who understand fully the Christological implications of this incarnation. These implications are then introduced succinctly. Christ’s human and divine essences are understood to be distinct within his one hypostasis.