Words and Images in Medieval Art - Essay Example

Words and Images in Medieval art Words and Images in Medieval art An image equals a thousand words. Now and through history, man has relied on and related words and images, to describe, explain and obtain abstract concepts, and express logical relationships in linguistic modalities. This paper, demonstrating through diverse histo-cultural settings, demonstrates the image- word transition in medieval art. It draws arguments that the images, not words, are the primordial substance of the thought form. Once again convincingly also seems to be the hypothesis that in the course of human phylogeny and ontogeny first nonverbal language, but the language of gestures a conceptual order brings in the episodic imagery of proverbial thought; the penetrated metaphors word language builds on the Language of gestures formed out meanings and contexts of meaning. If not, then the level of verbal language very the basis of thinking, but rather only a more abstract scene the same is likely so that added to the image word, sometimes even the picture alone, a more appropriate means for communicating thoughts considered to be the mere word1. Second, It shows that although imagery communication if not accompanied by words, rarely completely successful, and each visual language of the background of the convention may need verbal illustrations, some images communicate as effectively if not better, as are. Thirdly, it emphasizes that pictures - the very fact that what they represent, are similar - dually suited to visual to convey information. However, the use of images in the service of knowledge transfer during all the millennia alphabetical literacy has always by the limited resources for the production and duplication of graphs been de-strengthened. Pictorial thinking begins in the days of Plato and Aristotle and experienced an important new beginning. According to Dalasi, the vast knowledge that one as background to any reasoning and decision-making needed in the form of visual images our minds at present. Visual ideas are not as facsimile images of objects, events, stored as words or phrases. Dalasi writes that we, by a face or an event in memory call, do not generate accurate reproduction, but rather a kind 162:1 info communication. A brilliant description of the Debate is the introductory essay by the editor in the band Klaus Sachs-Hogback. Representations make the main content of our thoughts. Of course play behind those ideas many, we never or rarely accessible from processes. "These processes," write Dalasi, “Are essential to our way of thinking, but do not make the contents thereof." We must remember that during the twentieth century the view according to which visual images substantial Play role in rational thinking and images important information carrier represent a minority position in philosophy. This view was expressed about Russell, in 1919 wrote: "If you can convince an ordinary uneducated person from attempted to show that they are not a visual image [visual picture] on theirs can call the chair seated friend in memory, but only words for describing its use can, as such an occurrence Even in medieval Europe images are used in the contents of the Christian Faith must be provided. Sculptures and reliefs Romanesque and Gothic churches, the stained glass windows high medieval cathedrals represent biblical and post-biblical figures and scenes in public Space, make figures and scenes of intuition and the commentary, so the interpretation accessible. Glass windows and reliefs on sarcophagi, in carvings on the choir talls, structured Altarpieces and ceiling frescoes are those designs that are most likely the iconographic representation of holy individuals and salvation history Scenes in the direction of greater contexts. Exceed if it is then texted? The text term has come to oscillate. Only in postmodern interpretation would be the iconographic programs certain parts of the medieval cathedrals Texts, in a linguistic perspective they are not there. But they represent, where it is scene consequences, but a time-ordered complex Ratios of arguments, though not strictly linear2. They represent interactions in which a party (or more) repeatedly appears. The arguments are recurrent; their identity is ichnographically backed up. It can be seen protagonists again, understand what they do and why opens. It does not matter whether you scenes from the life Christ or the Holy of a frieze from left to right, followed in a window from top to bottom or the other way around. The narrative structure of the biblical Text is illustrative too. in the pictures now; however, are not fundamentally narrative texts. Catechetical texts, to which it is to go here, are not. The Creed is neither poetic nor narrative. Well, it contains an outline of the Jesus life, this life but extremely scarce3. Lords Prayer and Ave Maria are perhaps poetic, but not narratively. Maybe poetic, but not narratively are the Ten Commandments, the precepts of the Church. Prayers and controlling human behavior generate their texts Coherence fundamentally different, namely a communicative counterpart. Catechetical texts are consequently texts of the first and second grammatical Person, not the third, and they are far more difficult to put into images as narrative. The creed, a text legal validity, although shifts the second grammatical Person of the divine counterpart in the third, that facilitates a version with pictures but not necessarily4. And what picture could "Credo" or "Credo in" (I believe / I believe in) represent? Narration has a time base structure - such as the Language; Prayer and confession not bid... Projects The subprojects B 2 (perception of reality - Visualization of Knowledge ") and B5 (knowledge traditions in the Christianization of America ) had already occasionally worked on the first application phase of the SFB 573, such cooperation in the second application phase, initially in the form of a common main seminar in the winter semester 2004 / Reinforced in 2005: American catechesis: image and Text . Subject of the seminar was Badland Text forms, the Indian in catechesis. The Mesoamerican cultures and they the Aztecs possessed a differentiated Field of graphic storage of information5. In particular, they possessed a paper-like material (Amatol), the figures in black contouring were applied; Figures and the background was often colored. Create codices was considered art, this art was taught in private schools, the corresponding occupational group (tlacuilos) enjoyed high Reputation. The Aztec verb means nitlacuiloa "Write" or "draw", this is not decidable. It means record. Translating the conquering Spaniards, it scriber and painter. At least whose cultural interested elites understand the Aztec Notation system as a font? Shogun writes in Historian General: Historically developed writing in the narrow sense of Scripture in the broad sense and the Mesoamerican cultures find itself this transition. The Mayan notation has far more phonographic shares as the Aztec, but also Aztec is phonographically in its infancy. Whether a given signal to a to design fictitious example, along with the concept HASE is associated or out with the concept also with the sound sequence [haze], is only decidable when it is no longer associated with HASE, or except with HASE with HOSE. For this new association is only possible because of the similarity of [Haze] and [hose]. With [haze] but the character has already have been associated previously, namely some time previously, only to be associated with [haze]. The definitional section is historically not being found. The system includes graphical Aztec pictographic (Mimetic-iconic) characters, ideographic (Metonymically-associative) characters and phonic Uses these two classes, especially in the notation of proper names. The inventory turns so in systematic ways than is fanned, but should be understood by its users as a coherent At least is certain, that the Spanish mendicants, for the framing the catechisms in pictures political responsible were the indigenous Aztec Font use have observed. You must by their observations have been encouraged in their projects: Convergences between Aztec and European religious use of images were obvious. In any case, seems the speaking linguistic production Fixed graphical information in pre-colonial times not to have been uniformly applied, but by different types of texts. In the case of mythical and historical narratives, there is strong evidence for that text orally parallel to the preservation of books was handed down6. They arrived simultaneously with the Imagery for performance, in terms of a total work of art, a complex semiotics. The lecturer of the traditional text is selected before Referred audience during the presentation of image sequences has (using a rod). The lyrics, however, were independent of its individual images Entrusted memorized, were largely poetic fixed, learned in many years of study. The Artists images presented another scripture oriented Occupational group, unlike the case of administrative, legal, geographical, political, astronomical and calendric writing. Texts were far more likely consulted spontaneously staged, based on traditional rhetorical Technology and oriented by the same specialists, but at a current interest in information. Corresponding Notations have been read, so to speak. Liturgical Texts should have been memorized as the narrative is. In all three cases, the image was used as evidence. In particular, in narrative and liturgy, but also in calendar Genres it served the figures, Scenes and action sequences dignity.4 In the European tradition Images as evidence of the saints, and to the Memorial. The Mendicants go without a doubt of European Concepts and experiences in catechesis from. Nevertheless, it is far from understood that European religious images, as in the catechisms in themselves have been out evident from America too. About a cultural boundary and in the attempt the religious beliefs of a religious already the convinced otherwise have taken pictures of themselves in any form of surgery. They require speaking linguistic Explanation and in the language of Persuasion7. That is just in Central Mexico, the Aztec (Nahunta). In this respect, it is unreasonable to assume that the Mendicants wanted in an early phase of the sermon to replace images as long as that are how they of the Aztec yet powerful warring. Without Words no implementation of images in a culturally radically different environment. The mendicants work since the first three Franciscans in 1523 at the development of the Aztec, the latest in 1531 is a first grammar of this language for. How could they Aztec imagery progress in their understanding made without being able to ask informants? This does not mean that all Franciscans in Mexico fluently spoken Nahunta after a short time have. On the contrary, having good Language skills was always in the minority. Only remained Christian images to explain in any case, and where the mendicants this, as often, on Nahunta could not, Nashua’s have in place have opened up access, in Nahunta. The Pictures not solve the language problem, its function is consequently another. Catechisms in pictures, but do not want Material of intuition and reason to explain the offer, but represent graphically set texts. They go from texts and the necessary Texts in a particular language, Latin, Spanish or Nahunta. Because, of course, catechetical texts are not only recorded in pictures, but about the same time (before or after) are Translated Indian languages and alphabetically listed. In this respect, the catechisms in images can either designed on the basis of the translations into Nahunta have been or from European texts. The word art in the broadest sense refers to any activity developed, which is based on knowledge, practice, perception, imagination and intuition (healing art, art of free speech). The work of art is usually at the end of this process, but it can be since modernism and the process itself. Performing art in the narrower sense is called artistry8. Artists and enjoy in Germany and many other countries, artistic freedom; this is in Germany by Art. 5, para. 3 Basic law protected fundamental right. Since the Enlightenment is meant by art especially the expression of Fine Arts : Fine Art with the classic genres of painting and drawing, sculpture, architecture, and several small forms, and since the 19th century to the decorative arts or applied arts mentioned boundary to the Craft Music with the main divisions composition and interpretation in vocal and instrumental music. Forms and techniques of the art have been growing since the beginning of modernity, as with photography in the visual arts or with the establishment of the comic as a link visual art with the narrative literature. The classic division has lost at least since the last decades of the 20th century in importance. Genres such as the installation or the field of media art no longer know the basic classical division. Bibliography Barbara Abou-El-Hai, “The Audiences for the Medieval Cult of Saints”, Gesta, Vol. 30, No. 1. (1991), pp. 3-15 C., N.J: Prentice-Hall, 1971 (BL+SSC) – extremely useful collection of primary sources; their significance extends over the whole medieval period and beyond. Cynthia Hahn, “Seeing and Believing: The Construction of Sanctity in Early-Medieval Saints Shrines”, Speculum, Vol. 72, No. 4 (Oct., 1997), pp. 1079-1106 Eva Snyder, James. Medieval art: painting-sculpture-architecture, 4th-14th century, H.N. Abrams, 1989. Gardner’s Art through the Ages. Edited by Fred S. Kleiner. A Thirteenth Edition. Legge, James. The Religions of China Medieval art and Tâoism Described and Compared with Christianity. London: Hodder and Stoughton, 2011. Print. Martin, Alfred W. Seven Great Bibles the Sacred Scriptures of Hinduism, Buddhism, Zoroastrianism, Medieval art (Taoism), Mohammedanism, Judaism and Christianity, New York: Frederick A. Stokes, 2009. Print. Patrick Geary, ‘Sacred Commodities: the circulation of medieval relics’, chap. 10 in his Living with the Dead in the Middle Ages. Ithaca & London: Cornell Univ. Press, 1994. E-book via Brotherton Reynolds’s Art through the Ages. Edited by Fred S. Kleiner. A Thirteenth Edition. Richard Krautheimer. “The Hagia Sophia and Allied Buildings,” in Early Christian and Byzantine Architecture. New Haven: Yale University Press, 1986. Rowland J. Main stone. “Furnishing and Use: Architecture and Liturgy.” London: Thames and Hudson, 1988 Snyder, James. Medieval art : painting-sculpture-architecture, 4th-14th century, H.N. Abrams, 1989. Tang, Yijie. Confuism, Buddhism, Daoism, Christianity, and Chinese Culture. Peking: U of Peking, 2012. Print. Yeh, Theodore T. Y. Medieval art, Christianity & China. New York: Philosophical Library, 2009. Print. Zenice-Hall, 1971 (BL+SSC) – extremely useful collection of primary sources; their significance extends over the whole medieval period and beyond. . Read More