Pub Date : 2022-06-15DOI: 10.1080/17432200.2022.2082780
G. Pati
front; because they are presented primarily as examples of certain types, the information about particular works is very limited. Consequently, new scholarship regarding individual works of art is mostly absent. The color photographs clarify how the centuries of veneration, oblivion, and both inadvertent and deliberate mistreatment have affected the artefacts – not to mention continuous change in aesthetic values. The eleventh chapter offers an important discussion of this “afterlife,” a perspective which has gained more ground in recent decades, due to the growing scholarly interest in the biographies of religious artefacts. One potential criticism of the book concerns the presentation of the data. While it is understandable that not all the material in Europe has been included, it does raise a question about why, then, to present the numbers and the data so exactly. In chapter 8, entitled “Résumé”, Finland is mentioned as having 31 tabernacle shrines (212), but the subsequent list has only 29 entries, and in fact some of the most prominent examples are missing from that list, e.g. Korppoo Virgin, Pyhtää St Anne, Kalanti St Olaf, and Karjaa St Birgitta. Fragmentary works, apart from a couple of examples, are not presented at all; these include empty tabernacles and sculptures without the shrine – which cover the majority of the “cases” in Finland. Therefore, at least the numbers given for Finland are limited in what they can tell us. More generally, in relation to Finland, it would perhaps have been more logical to discuss the tabernacle shrines in Finnish collections today hand-in-hand with the Swedish material, since both these lands were part of the same kingdom in the Middle Ages, and the material culture was similar. This closeness might not be clear to readers outside the Nordic countries. Documenting and analyzing the material for The Helgonskåp was a vast task, and probably also a rewarding adventure. The long experience of the authors is a necessity for this kind of book to be successful. Peter Tångeberg is a pioneer of technical art history and the conservation of medieval wood sculptures and altarpieces. No doubt his research contributed significantly to the change of the art historical paradigm in the 1980s. Kroesen, in turn, has published widely on religious ritual spaces and objects, concentrating especially on the rich medieval material heritage in the Scandinavian countries and the Iberian Peninsula. Tångeberg and Kroesen offer in their hardback book the most valuable and interesting insights into the visuality, materiality, and multiple contexts of the medieval tabernacle shrines. The publication will be attractive to general readers and experts alike.
正面因为它们主要是作为某些类型的例子呈现的，所以关于特定作品的信息非常有限。因此，关于个人艺术作品的新的学术研究大多是不存在的。彩色照片阐明了几个世纪以来的崇敬、遗忘以及无意和故意的虐待是如何影响这些文物的，更不用说审美价值观的持续变化了。第十一章对这种“来生”进行了重要的讨论，由于学术界对宗教文物传记的兴趣日益浓厚，这种观点在近几十年来得到了更多的支持。对这本书的一个潜在批评涉及数据的呈现。虽然并非所有欧洲的材料都包括在内是可以理解的，但这确实引发了一个问题，即为什么要如此准确地呈现数字和数据。在题为“Résumé”的第8章中，芬兰有31个帐幕神殿（212个），但随后的列表只有29个条目，事实上，该列表中缺少了一些最突出的例子，例如Korppoo Virgin、PyhtääâSt Anne、Kalanti St Olaf和Karjaa St Birgitta。碎片作品，除了几个例子，根本没有呈现；其中包括空荡荡的帐篷和没有神殿的雕塑，这些雕塑涵盖了芬兰的大多数“案例”。因此，至少芬兰的数字所能告诉我们的是有限的。更广泛地说，就芬兰而言，与瑞典材料一起讨论今天芬兰收藏的帐篷神殿可能更合乎逻辑，因为这两块土地在中世纪都是同一个王国的一部分，物质文化也相似。北欧国家以外的读者可能并不清楚这种亲密关系。记录和分析《Helgonskåp》的素材是一项艰巨的任务，可能也是一次值得冒险的经历。作者的长期经验是这类书取得成功的必要条件。Peter Tångeberg是技术艺术史和中世纪木雕和祭坛画保护的先驱。毫无疑问，他的研究对20世纪80年代艺术历史范式的转变做出了重大贡献。反过来，Kroesen广泛发表了关于宗教仪式空间和物品的文章，特别关注斯堪的纳维亚国家和伊比利亚半岛丰富的中世纪物质遗产。Tångeberg和Kroesen在他们的精装书中对中世纪帐幕神殿的视觉性、物质性和多种背景提供了最有价值和最有趣的见解。该出版物对普通读者和专家都很有吸引力。
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Pub Date : 2022-06-15DOI: 10.1080/17432200.2022.2082775
Elina Räsänen, Katri Vuola
Helgonskåp. Medieval Tabernacle Shrines in Sweden and Europe highlights the tabernacle shrines as a significant group of devotional objects that survived from the Middle Ages. These works are often overlooked in art historical writing, which instead focuses on either large altarpieces or singular wood sculptures. In this book, art historians Justin Kroesen and Peter Tångebeg outline the emergence and development of this object type, and also determine and classify its different subgroups and variations. Moreover, they give an insight into how these objects had an important impact on the experience of space and the rituals performed in the medieval church (8). Their bountiful publication is presented in four parts: the first part is the actual survey, the second discusses the tabernacle shrines as objects, the third focuses on church spaces, and the fourth gives a glimpse of the afterlife of tabernacle shrines. A tabernacle shrine, as defined by the authors, is a “more or less architecturally shaped enclosure with a minimum height of 50 cm equipped with two, four or more wings that contains a single saint’s effigy” (10). The conceptualization is important, because, as Kroesen and Tångeberg rightly attest, one problem in the coherent study of these objects has been the varying and uneven terminology within different languages. The geographical and temporal span of the material in the book is very broad: it reaches from Spain to Finland, and from the 12th to the 16th century. The authors aim to cover all of Europe, but their focus is clearly on Sweden. This is understandable, as this is where their main expertise lies. It is noteworthy that the book includes a number of understudied objects which are clearly worthy of scholarly attention. The first and major part of the publication – seven chapters in total – is dedicated to defining and presenting different types, or groups, of tabernacle shrines. These types are classified according to their formal qualities, an approach which underlines the typological aim of the research. The types are named after the geographical location of the object that is presented to the reader as ‘the best example’; such as “The Kil Type” or “The Väte Type” etc. All these locations are in modern-day Sweden. This approach poses a problem: although this might not be intentional, it does give an impression of Sweden as the center of the described development, and implicitly assumes that the ‘true prototypes’ have indeed survived. However, many of the examples were once imported to medieval Sweden from elsewhere – mainly the Northern parts of today’s Germany or Poland. The title of the book, containing the Swedish name of tabernacle shrines, Helgonskåp (“Saint’s cupboard”), stresses this undertone. However, it is clear that Sweden has, as the authors clearly underline, the best surviving collection of the tabernacle shrines in Europe. It is, therefore, reasonable to believe that this material indeed mirrors the variety and g
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Pub Date : 2022-06-14DOI: 10.1080/17432200.2022.2082772
Judith Brunton
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Pub Date : 2022-03-15DOI: 10.1080/17432200.2022.2047529
T. Wilks
In 2015, religious communities in Kibera—a neighborhood in Nairobi, Kenya—partnered with a local NGO and Ugandan paint company to paint their churches and mosques yellow. The idea behind the project, called Colour in Faith, was to create non-denominational spaces that were safe from the prospect of 2017 national election violence. Before ballots were cast in August 2017, two mosques and three churches in Kibera had “transitioned” to yellow, producing a new sacred cartography and poetics of religious tolerance. But why yellow? What shared reasoning exists between religious communities in Kibera and NGO directors to select yellow as the color of tolerance? By highlighting the context of religious coexistence and anticipation of election violence, this article demonstrates how and why yellow provided a salient material strategy to filter sacred surplus in Kibera. As the country prepares for the national election in August 2022, I explore how the social life and meaning of these yellow sacred spaces have changed. Not only has the paint chipped and faded, but several of the yellow sacred spaces were bulldozed in 2018. After five years, yellow reads as a chromogenealogy of how sacred spaces in Kibera are made and unmade.
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Pub Date : 2022-03-15DOI: 10.1080/17432200.2022.2050648
Taras Lesiv
Abstract This article explores the role of social and political agendas in the shaping of the development of contemporary Last Judgment iconography in Ukraine. Specifically, it focuses on a controversial recently painted icon of the Last Judgment in the town of Chervonohrad (Lviv region), on which universal Christian themes and motifs are interwoven with representations of historical and contemporary events and national sensibilities. Many episodes on the mural arose as a response to military aggression by the Russian Federation. The most controversial of these depicts scenes of Hell, where the main figure resembles Russian President Vladimir Putin burning in fire along with other anonymous sinners and totalitarian symbols. Although the mural may be observed as non-canonical or even absurd, it is enthusiastically accepted by church attendees and members of the laity. This paper highlights both religious and secular reactions to the mural. It examines the social and political dimensions of this religious piece, its iconographic elaboration, and its function as a piece of propaganda.
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Pub Date : 2022-03-15DOI: 10.1080/17432200.2022.2047531
J. Henry
the prophet of God and his message of religious truth guided by God, respect for the first four successors of the prophet Muhammad as ruler of the country umma. This side of the coin will evoke acceptance of the standard by Muslims who read it, proclaiming as well as the basic elements of Muslim doctrine. The other side is the image of the fish (in the zodiac, the fish that symbolizes the sign of Pisces). In the context of the Rasulid Yemen, this image shows the Rasulid princes’s interest in astronomy (‘ilm al-nujūm) and astrology (‘ilm ahkām al-nujūm). This is evidenced in their own writings and the works of art they protect and consume. The similarity with coins circulating in Mamluk Egypt reveals the intertwined pathways of patronage and visual production. A series of coins linking the name of the sultan Rasulid to the sign of the zodiac may also reflect shared astrological and cultural interests. Meanwhile, Anna M. Gade studies Zamzam water and its relation to environmental conservation. A case like Zamzam water refusing to enter the wrong area for the right reasons demonstrates how water sciences, such as hydrogeology, are linked to human conditions of power and justice at an environmental level. Ultimately, the chapters in this book offer a variety of perspectives on what Islamic artifacts are and what we may learn from them. Some authors engage overtly with theories of materiality, while others take a more oblique approach, demonstrating that theorizing can take many forms and, in the ideal world, theory emerges from rather than imposes itself upon the object under focus. These studies demonstrate that the somatic and object-oriented features of Islamic thing culture are just as important in comprehending Islam’s forms as the doctrines, texts, and ethics that intersect in the production and interpretation of those things. Because of the everydayness of the items in this collection, it is a good place to look at how ethical ideals are produced through encounters between bodies and objects. Islam Through Objects would be even more interesting if it covered more areas of material religion, especially in countries in Southeast Asia where the majority of the world’s Muslims live. Nevertheless, this varied anthology points to new directions in the study of material religion and Islam. It analyzes how Islamic things “make sense” to Muslims around the world, in response to misrepresentations of Islam as an iconophobic, monolithic religion. The chapters vividly describe how Muslim societies come to recognize an object as Islamic because it is soaked with Islamic meaning and presence, as well as how such objects enliven and orient Muslims’ senses and sensitivities.
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Pub Date : 2022-03-15DOI: 10.1080/17432200.2022.2048604
D. Schaefer
Abstract This article examines the visual culture of the 1925 Scopes Trial, including editorial cartoons from contemporary periodicals and the 1960 film version of Inherit the Wind. Combining studies of material religion with affect theory, it suggests that this network of imagery instantiates an "economy of dignity" in which different factions seek to consolidate their positions through visual representations of shame and pride. Content Warning: This article contains racist imagery.
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Pub Date : 2022-03-15DOI: 10.1080/17432200.2022.2048603
Laura Yares
Abstract Down the street from the Liberty Bell and a block away from Independence Hall, Philadelphia’s National Museum of American Jewish History (NMAJH) offers tourists a Jewish take on America’s past. For Jewish visitors to NMAJH, the museum sets personal narratives in national contexts, embodied by objects that have animated Jewish life for centuries. Most research on encounters between visitors and religious objects in museums is situated within exhibit galleries. Yet this focus on the gallery can overlook the holistic visitor experience in the museum, and the ways that object lessons can also be conveyed outside of the exhibit space. This article draws upon an ethnographic study of 30 millennial generation Jewish visitors to NMAJH conducted in July 2019, and analyzes visitor responses to Jewish objects for sale in the museum store. It argues that the store stimulates affective learning experiences, prompted when visitors respond to merchandise with emotion, aspiration and nostalgia, contextualize these goods within the narratives of the core exhibit, and reflect upon objects for sale in relation to their own lives and livelihoods.
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Pub Date : 2022-03-15DOI: 10.1080/17432200.2022.2048601
R. Reinhardt
Abstract “Conversion” has often been used to designate an event or period of discrete and intense change, especially in relation to an individual’s belief and religious identity. The sources on Francis of Assisi’s conversion show how pleasure and unpleasure converged in relation to material objects and the affects that they helped to create and sustain. Among others, Francis of Assisi’s objects of conversion included lepers, cloth, fire, ice, and his own body. Instead of conversion as a discrete change in a predictable direction, taking the materials of Francis’s conversion as the primary objects of the story animates a sense of perfect jouissance, suggesting that conversion entails realignments between pleasure and unpleasure—an experience Francis described, toward the end of his life, as “perfect joy.”
{"title":"Francis of Assisi’s Perfect Jouissance: Theorizing Conversion through Objects and Affects in Early Franciscan Fragments","authors":"R. Reinhardt","doi":"10.1080/17432200.2022.2048601","DOIUrl":"https://doi.org/10.1080/17432200.2022.2048601","url":null,"abstract":"Abstract “Conversion” has often been used to designate an event or period of discrete and intense change, especially in relation to an individual’s belief and religious identity. The sources on Francis of Assisi’s conversion show how pleasure and unpleasure converged in relation to material objects and the affects that they helped to create and sustain. Among others, Francis of Assisi’s objects of conversion included lepers, cloth, fire, ice, and his own body. Instead of conversion as a discrete change in a predictable direction, taking the materials of Francis’s conversion as the primary objects of the story animates a sense of perfect jouissance, suggesting that conversion entails realignments between pleasure and unpleasure—an experience Francis described, toward the end of his life, as “perfect joy.”","PeriodicalId":18273,"journal":{"name":"Material Religion","volume":"18 1","pages":"228 - 249"},"PeriodicalIF":0.4,"publicationDate":"2022-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41721458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"哲学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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