Časopis za ikonografske studije Journal of Iconographic Studies Broj 9 Volume 9 Rijeka 2016.

Transkripcija

1 IKON Časopis za ikonografske studije Journal of Iconographic Studies Broj 9 Volume 9 Rijeka 2016.

2 IKON ČASOPIS ZA IKONOGRAFSKE STUDIJE JOURNAL OF ICONOGRAPHIC STUDIES BROJ 9 / VOLUME 9 / 2016 ISSN UDK / UDC 7.04 Časopis izlazi jedanput godišnje The journal is published annually Nakladnik / Publisher Filozofski fakultet Sveučilišta u Rijeci / Faculty of Humanities and Social Sciences, University of Rijeka Za nakladnika / For the publisher Ines Srdoč-Konestra Urednica / Editor Marina Vicelja-Matijašić Pomoćnica urednice / Editor s Assistant Nikolina Belošević Urednički odbor i znanstveni savjet časopisa / Editorial and Advisory Board Barbara Baert (Leuven) Xavier Barral i Altet (Venezia) Veronika Nela Gašpar (Rijeka) Martin Germ (Ljubljana) Emanuel Hoško (Rijeka) Bianca Kühnel (Jerusalem) Heinrich Pfeiffer (Roma) Debra Strickland (Glasgow) Jezična savjetnica za hrvatski jezik / Croatian Language Editor Mirna Vaupotić-Murati Jezični savjetnik za engleski jezik / English Language Editor Martin Mayhew Naslovnica / Cover Lea Kelenc Grafičko oblikovanje i priprema za tisak / Design and text preparation Sanja Jovanović Tisak / Print Denona d.o.o., Zagreb Distribucija / Distribution Brepols Publishers, Begijnhof 67, B-2300 Turnhout, Belgium periodicals@brepols.net Naslovnica / Cover: Old Testament Trinity icon, c. 1620, egg tempera on wood ( Museum of Russian Icons, Clinton, MA, USA) Adresa uredništva / Address of editor Centar za ikonografske studije, Filozofski fakultet Sveučilišta u Rijeci / Center for Iconographic Studies, Faculty of Humanities and Social Sciences Sveučilišna avenija 4, Rijeka, Croatia

3 IKONE I IKONOLOGIJA ICONS AND ICONOLOGY

4 Sadržaj Contents Uvodna riječ / Foreword Davor Džalto Icons - Between Images and Words Modes of Representation or Modes of Being? Alexei Lidov Iconicity as Spatial Notion A New Vision of Icons in Contemporary Art Theory Hieromonk Silouan Justiniano The Degraded Iconicity of the Icon The Icon s Materiality and Mechanical Reproduction Maria Vassilaki Painting Icons in Venetian Crete at the Time of the Council of Ferrara/Florence (1438/1439) Olga Gratziou From Heaven to Earth Perceptions of Reality in Icon Painting Zoraida Demori Staničić Miraculous Icons in Dalmatia Maria Cristina Carile Imperial Icons in Late Antiquity and Byzantium The Iconic Image of the Emperor Between Representation and Presence Jelena Erdeljan - Branka Vranešević Eikōn and Magic Solomon s Knot on the Floor Mosaic in Herakleia Lynkestis Maria Lidova Empress, Virgin, Ecclesia The Icon of Santa Maria in Trastevere in the Early Byzantine Context Ashley Elizabeth Jones Icons of Power The Late Antique Imperial Portrait as Image and Amulet Gaetano Curzi The Two Triclinia of Pope Leo III as Icons of Power Sotiria Kordi Corporeal Perceptions of the Immaterial Agency and Rhythm in Palaeologan Monumental Painting Donald Ostrowski The Last Supper in the Illustrated Chronicle Compilation (Litsevoi letopisnyi svod)

5 Isolde Thyrêt The Icon as a Medium to Construct a Saint s Image The Earliest Icons of Saint Nil Stolbenskii Snežana Filipova Examples of Icons with Western Influences in Iconography in the Art of Macedonia Case Study of the Icon Virgin with Child (inv. no. 81) from the Ohrid Gallery of Icons Svetlana V. Cheloukhina The Arkhyz Savior A Rock-Wall Icon in Nizhnii Arkhyz, Karachay-Cherkessia (Russia) Dmitriy Antonov Hair on End Demons and Sinners in Old Russian Iconography Valentina Živković The Deathbed Experience - Icons as Mental Images Preparations for a Good Death in Late Medieval Kotor (Montenegro) Michael S. Flier The Baptism of Christ in Muscovite Iconography Tradition and Innovation Giuseppe Capriotti Defining the Boundaries of the Lawful Cult History of an Adriatic Icon Lasse Hodne Aeiparthenos Metaphors and Symbols of Virginity in Italian, Dutch and Byzantine Representations of the Annunciation around Claudia Cieri Via The Invisible in the Visible The Annunciation by Antonello da Messina from Narrative to Icon Deborah Walberg Tradition and Propaganda in the Venetian Madonna della Pace Laura Stagno Embedding Byzantine Icons in Post-Tridentine and Baroque Splendor Reception and Celebration of Eastern Cult Images in the Republic of Genoa in 16 th -18 th Centuries Ana Šeparović Icons and Croatian Painting in the Early 20 th Century Branka Gugolj - Danijela Tešić-Radovanović The Žiča Altar Screen Icons

6 Charlotte Gill A Direct Perception of Life How the Russian Avant-Garde Utilised the Icon Tradition to Form a Powerful Modern Aesthetic Elena Ene D-Vasilescu Twentieth Century Developments in European Icon Painting Rebeka Vidrih Iconisation at Work Malevich s Black Square, the Modern Icon at Tate Modern Karen Von Veh Contemporary Iconoclasm in South Africa Transgressive Images of the Madonna and Christ in Response to Social Politics Amy Singleton Adams Learning to Look The Meaning of the Unseen Icon in Dostoevsky s The Idiot Yvonne Dohna Schlobitten La forma dell immagine La formazione liturgica Ding Ning Re-reading Li Gonglin s Painting of a Country Retreat (shan-zhuang tu) at Villa I Tatti Prilozi Prikazi Dodatak / Contributions Reviews Appendix Emma Chookaszian L image de la Vierge de Misericorde dans les miniatures armeniennes du Royaume de Cilicie du XIIIe siecle Comparaison avec les icones occidentales et origine du type iconographique Barbara Španjol-Pandelo Venetian Painting of the Cinquecento Reading the (In)Visible Deveti međunarodni znanstveni skup ikonografskih studija / Ninth International Conference of Iconographic Studies Guidelines for Authors

7 Uvodna riječ / Foreword Deveti broj časopisa IKON donosi radove predstavljene na Osmom međunarodnom znanstvenom skupu ikonografskih studija, održanome u Rijeci i Clintonu (Massachusetts, SAD) u lipnju 2015., a u organizaciji Centra za ikonografske studije Filozofskog fakulteta u Rijeci i Muzeja ruskih ikona u Clintonu, te u suorganizaciji Instituta za filozofiju i socijalnu teoriju Sveučilišta u Beogradu, Instituta za istraživanje kulture i kršćanstva Beograd, Sveučilišta Harvard, Filozofskog fakulteta Sveučilišta u Ljubljani i Papinskog sveučilišta Gregoriana u Rimu. Skup je bio organiziran u dva dijela. Prvi je dio održan u Rijeci 3. i 4. lipnja, dok je drugi održan u SAD, u Clintonu 11. i 12. lipnja. U ovome se broju, u 34 rada, raspravlja o recentnim dosezima u istraživanju načina precepcije i interpretacije ikona i njihova ikonološka tumačenja unutar različitih disciplina - teologije, povijesti umjetnosti, povijesti, književnosti, filozofije i kulturalnih teorija. Ikone, ikonografija i ikonologija predstavljaju najznačajnije koncepte i istraživačke teme u povijesti umjetnosti. Oni se referiraju na specifičnu umjetničku praksu, liturgijske predmete ali i na metode povijesnoumjetničke interpretacije. S obzirom na činjenicu da koncept ikone (ikonologije) pretpostavlja različita značenja i funkciju, postaje istovremeno i objekt teološke refleksije, didaktički instrument, medij u prenošenju vizualnog, estetskog i metafizičkog sadržaja kao i umjetnički produkt. Teme u ovome broju IKONa problematiziraju o ikonama i ikonologiji iz zapadne i istočne perspektive, o profanim i sakralnim ikonama, o metafizičkoj dimenziji, o ikonama u tradicinalnom značenju i ikonama u suvremenom korištenju i značenju, o ikonama kao mediju i metafori, o snazi i moći ikona, o ikonama u modernoj kulturi i suvremenim medijima, o teološkoj i filozofskoj recepciji ikona te o ikonoklazmima kroz povijest. Problemu se pristupa interdisciplinarno, s naglaskom na odnos teksta (kao izvorišta i reference), slike (likovne, vizualne transpozicije riječi ili ideje) i ostalih medija. Posebnu zahvalnost u organizaciji skupa i nastajanju ovoga broja časopisa dugujemo Muzeju ruskih ikona u Clintonu, čiji su suradnici omogućili platformu za dijalog o ikoni u njezinome tradicionalnom poimanju i to uz jednu od najboljih zbirki kao i o suvremenom odnosu prema ikoni kao mediju unutar značajnih tehnoloških promjena i izazova. Radovi predstavljeni na tom skupu te zanimljive rasprave predstavljaju značajan doprinos ovome broju. 7

8 The ninth volume of journal IKON publishes papers presented at the Eighth international conference of iconographic studies held in June 2015 in Rijeka and Clinton (Massachusetts, USA) in the organization of the Center for Iconographic Studies of the University of Rijeka and the Museum of Russian Icons in Clinton, as well as the co-organization of The American University of Rome, The Institut for Philosophy and Social Theory of the University of Belgrade, The Institute for the Study of Culture and Christianity in Belgrade, Harvard University, University of Ljubljana and The Gregorian Pontifical University in Rome. The conference was organized in two parts: the first one was held in Rijeka on the 3 rd and 4 th of June, and the second one in Clinton on 11 th and 12 th of June. The authors of the 34 papers published in this issue seek to explore and discuss recent development in the discourse among theology, art history, philosophy and cultural theory concerning the ways we perceive and interpret icons, iconography and iconology. One of the objectives is to offer an insight into the development of iconographic studies and related disciplines, and to reflect upon their future development in the broader context of the humanities. Icons, iconography and iconology represent some of the most prominent concepts and research topics of art history. The papers refer both to a particular artistic practice, to liturgical objects, and to methods of art historical interpretations. Given this multitude of meanings and functions that the concepts of icon, iconic, iconography and iconology imply, it is not surprising that icons have been interpreted as objects of theological reflection, didactic instruments, media of transmitting visual, aesthetic and metaphysical content, and, finally, as artworks in the modern sense of the word. The themes and subjects in this volume problematize icons, iconography and iconology from Western and Eastern perspectives, sacred and profane icons, reverse perspective, formal and metaphysical dimensions of icons, icons as a medium and metaphor, icons of power and icons as power, the relation between icons and modern culture, icons and film and digital media, icons and the canon of modern art, modern and contemporary icon painting, theological and philosophical reception of icons and various and historical iconoclasms. The problems are approached interdisciplinary with specific focus on the relationship between text (as the source and the reference), image (as visual transposition of an idea within norms) and other media. We owe special thanks for the organization of the conference but also preparation of this volume to the Museum of Russian Icons in Clinton who provided a valuable platform for dialogue about icon in its traditional perception, next to one of the best collections of icons, as well as the contemporary approach to icon as a medium within technological changes and challenges. The papers presented in Clinton together with interesting discussions made important contribution to this issue. Urednički odbor / Editorial Committee 8