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Winner of the 2022 Roland H. Bainton Book Prize from the Sixteenth Century Society & Conference In 1578, a fourteen-foot linen sheet bearing the faint bloodstained imprint of a human corpse was presented to tens of thousands of worshippers in Turin, Italy, as one of the original shrouds used to prepare Jesus Christ’s body for entombment. From that year into the next century, the Shroud of Turin emerged as Christianity’s preeminent religious artifact. In an unprecedented new look, Andrew R. Casper sheds new light on one of the world’s most famous and controversial religious objects. Since the early twentieth century, scores of scientists and forensic investigators have attributed the Shroud’s mysterious images to painterly, natural, or even supernatural forces. Casper, however, shows that this modern opposition of artifice and authenticity does not align with the cloth’s historical conception as an object of religious devotion. Examining the period of the Shroud’s most enthusiastic following, from the late 1500s through the 1600s, he reveals how it came to be considered an artful relic—a divine painting attributed to God’s artistry that contains traces of Christ’s body. Through probing analyses of materials created to perpetuate the Shroud’s cult following—including devotional, historical, and theological treatises as well as printed and painted reproductions—Casper uncovers historicized connections to late Renaissance and Baroque artistic cultures that frame an understanding of the Shroud’s bloodied corporeal impressions as an alloy of material authenticity and divine artifice. This groundbreaking book introduces rich, new material about the Shroud’s emergence as a sacred artifact. It will appeal to art historians specializing in religious and material studies, historians of religion, and to general readers interested in the Shroud of Turin.
Winner of the 2022 Roland H. Bainton Book Prize from the Sixteenth Century Society & Conference In 1578, a fourteen-foot linen sheet bearing the faint bloodstained imprint of a human corpse was presented to tens of thousands of worshippers in Turin, Italy, as one of the original shrouds used to prepare Jesus Christ’s body for entombment. From that year into the next century, the Shroud of Turin emerged as Christianity’s preeminent religious artifact. In an unprecedented new look, Andrew R. Casper sheds new light on one of the world’s most famous and controversial religious objects. Since the early twentieth century, scores of scientists and forensic investigators have attributed the Shroud’s mysterious images to painterly, natural, or even supernatural forces. Casper, however, shows that this modern opposition of artifice and authenticity does not align with the cloth’s historical conception as an object of religious devotion. Examining the period of the Shroud’s most enthusiastic following, from the late 1500s through the 1600s, he reveals how it came to be considered an artful relic—a divine painting attributed to God’s artistry that contains traces of Christ’s body. Through probing analyses of materials created to perpetuate the Shroud’s cult following—including devotional, historical, and theological treatises as well as printed and painted reproductions—Casper uncovers historicized connections to late Renaissance and Baroque artistic cultures that frame an understanding of the Shroud’s bloodied corporeal impressions as an alloy of material authenticity and divine artifice. This groundbreaking book introduces rich, new material about the Shroud’s emergence as a sacred artifact. It will appeal to art historians specializing in religious and material studies, historians of religion, and to general readers interested in the Shroud of Turin.
"A study of reliquaries as a form of representation in medieval art. Explores how reliquaries stage the importance and meaning of relics using a wide range of artistic means from material and ornament to metaphor and symbolism"--Provided by publisher.
The Shroud at the Court analyses, through various essays characterized by a multidisciplinary and diachronic perspective, the strict ties created between the Shroud and the Savoy court from the fifteenth to twentieth centuries. Presented as proof of the divine legitimacy of Savoy lineage, the Shroud (of which the Savoy dynasty came into possession in 1453, keeping it first in Chambéry and then from 1578 in Turin) was central to their propagandistic strategies. The court – its spaces, protagonists, and rituals – became the natural setting for a relationship reinforced over time through customs, ceremonies, and images intended to celebrate the excellence of the Savoy, both within their own state and in Europe’s “society of princes”. Contributors are Paola Caretta, Paolo Cornaglia, Paolo Cozzo, Davide De Franco, Bernard Dompnier, Laura Gaffuri, Pierangelo Gentile, Luisella Giachino, Andrea Merlotti, Frédéric Meyer, Andrea Nicolotti, Almudena Pérez de Tudela, Laurent Ripart, Alessandro Serra and Franca Varallo.
All normal human beings alive in the last fifty thousand years appear to have possessed, in Mark Turner's phrase, "irrepressibly artful minds." Cognitively modern minds produced a staggering list of behavioral singularities--science, religion, mathematics, language, advanced tool use, decorative dress, dance, culture, art--that seems to indicate a mysterious and unexplained discontinuity between us and all other living things. This brute fact gives rise to some tantalizing questions: How did the artful mind emerge? What are the basic mental operations that make art possible for us now, and how do they operate? These are the questions that occupy the distinguished contributors to this volume, which emerged from a year-long Getty-funded research project hosted by the Center for Advanced Study in the Behavioral Sciences at Stanford. These scholars bring to bear a range of disciplinary and cross-disciplinary perspectives on the relationship between art (broadly conceived), the mind, and the brain. Together they hope to provide directions for a new field of research that can play a significant role in answering the great riddle of human singularity.
Shrouds have long held a special place among the sacred relics of Christendom. In the Middle Ages, shrouds, like holy relics, were the prize possessions of churches and cities. Cloaked in mystery, these artifacts have long been objects of reverence and awe, as well as sources of debates, quarrels, thefts, and excommunications. Shrouds--so some claim--provide visible testimony to faith. One in particular has drawn the interest of scholars, clergy, and the public alike: the Shroud of Turin. In The Shroud of Turin, Andrea Nicolotti chronicles the history of this famous cloth, including its circuitous journey from the French village of Lirey to its home in the Italian city of Turin, as well as the fantastical claims surrounding its origin and modern scientific efforts to prove or disprove its authenticity. Full of intrigue and mystery, The Shroud of Turin dismantles hypotheses that cannot survive the rigors of historical analysis. Nicolotti directly addresses the thorny problem of the authenticity of the relic and the difficult relationship between history, faith, and science.
It was a crime scene investigation like no other. A man was tortured, beaten, and killed. He was popular with the people, but many in power wanted Him dead. After a mock trial, the powerful had their way. He was given a hasty burial, but now the body has disappeared. Was there a clue left behind? A bloody sheet offers evidence of a horrific execution. Was the body stolen? By whom and why? Did it just vanish? What does the cloth reveal about the disappearance? The Shroud of Turin (Italy) bears the faint front and back image of a bearded crucified man with corresponding bloodstains that match the Gospel accounts of what happened to Jesus. It is the most analyzed artifact in the world yet remains an unsolved mystery. While there are no artistic substances on the linen cloth, the blood is real, and testing corresponds with type AB. The blood has soaked through the cloth; however, the image resides only on the top 1 percent of the surface fibers. Could it be the same Shroud that wrapped Jesus in the tomb? The Shroud poses the ultimate either-or proposition as either the actual burial cloth of Jesus or the product of human effort, as a work of devotional art or a masterful hoax. There is nothing in between. The culmination of a lifetime of research, countless presentations, and ongoing associations with Shroud experts worldwide, Russ Breault's Shroud Encounter--Explore the World's Greatest Unsolved Mystery examines the science, history, and theology surrounding this profound enigma. If proven one day to be authentic, the implications could truly shake the world.
"A Treatise on Relics" by Jean Calvin, translated by Count Valerian Krasinski, offers readers a profound exploration of religious relics and their significance within Christian theology. Calvin's meticulous analysis and theological insights shed light on the historical, cultural, and spiritual aspects of relics, making it an essential read for those interested in religious history. Count Valerian Krasinski's translation captures the essence of Calvin's original work, enabling modern readers to engage with the profound thoughts of this influential reformer.
At the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history. Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov.
Why does a wine glass break when you drop it, whereas a steel goblet does not? The answer may seem obvious: glass, unlike steel, is fragile. This is an explanation in terms of a power or disposition: the glass breaks because it possesses a particular power, namely fragility. Seemingly simple, such intrinsic dispositions or powers have fascinated philosophers for centuries. A power's central task is explaining why a thing changes in the ways that it does, rather than in other ways: powers should explain why an acorn turns into an oak tree, not a sunflower, or why fire burns wood, and wood can catch fire. This volume examines the twists and turns of the fascinating history of a difficult philosophical concept, focusing on the metaphysical sense of "powers"--that is, the powers that are invoked in the explanation of natural changes and activities. Scholars probe the views of thinkers from antiquity to the present day: Anaxagoras, Plato, the Stoics, Abelard, Anselm, Henry of Ghent, Gottfried Wilhelm Leibniz, Margaret Cavendish, Mary Shepherd, Immanuel Kant, Georg Wilhelm Friedrich Hegel, and numerous others. In addition, the volume contains four short reflection essays that examine the concept of powers from the perspective of disciplines other than philosophy, namely history of music, West African religions, history of chemistry, and history of art. The history of philosophy brims with controversies surrounding the concept of power, and these controversies have not diminished--particularly as potentialities or powers see a revival in contemporary analytic metaphysics. Hence, telling the history of philosophical theories of powers means exploring the trajectory of a concept whose importance to the past and present of philosophy can hardly be overstated.