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This volume explores aspects of the devotional world of late medieval northern Europe, with a special emphasis on how people interacted with texts, images, artifacts, and other instruments of piety at the level of the senses. The book focuses on the materiality of medieval religion and the manner in which Christians were encouraged to engage their senses in their devotional practices: gazing, hearing, touching, tasting, and committing to memory. In so doing, it brings together the ideals of medieval mystical writing and the increasingly tangible and material practice of piety, which would become characteristic of the period. [Subject: History, Medieval Studies, European Studies, Religious Studies]
Examining correlations between the material and the mystical, this books investigates collective writing and devotional culture in late medieval piety.
Domestic devotion has become an increasingly important area of research in recent years, with the publication of a number of significant studies on the early modern period in particular. This Special Issue aims to build on these works and to expand their range, both geographically and chronologically. This collection focuses on lived religion and the devotional practices found in the domestic settings of late medieval and early modern Europe. More particularly, it investigates the degree to which the experience of personal or familial religious practice in the domestic realm intersected with the more public expression of faith in liturgical or communal settings. Its broad geographical range (spanning northern, southern, central and eastern Europe) includes practices related to Christianity, Judaism and Islam. This Special Issue will be of interest to historians, art historians, medievalists, early modernists, historians of religion, anthropologists and theologians, as well as those interested in the history of material religious culture. It also offers important insights into research areas such as gender studies, histories of the emotions and histories of the senses.
Late Medieval Christianity's encounter with miraculous materials viewed in the context of changing conceptions of matter itself. In the period between 1150 and 1550, an increasing number of Christians in western Europe made pilgrimage to places where material objects--among them paintings, statues, relics, pieces of wood, earth, stones, and Eucharistic wafers--allegedly erupted into life through such activities as bleeding, weeping, and walking about. Challenging Christians both to seek ever more frequent encounters with miraculous matter and to turn to an inward piety that rejected material objects of devotion, such phenomena were by the fifteenth century at the heart of religious practice and polemic. In Christian Materiality, Caroline Walker Bynum describes the miracles themselves, discusses the problems they presented for both church authorities and the ordinary faithful, and probes the basic scientific and religious assumptions about matter that lay behind them. She also analyzes the proliferation of religious art in the later Middle Ages and argues that it called attention to its materiality in sophisticated ways that explain both the animation of images and the hostility to them on the part of iconoclasts. Seeing the Christian culture of the fourteenth and fifteenth centuries as a paradoxical affirmation of the glory and the threat of the natural world, Bynum's study suggests a new understanding of the background to the sixteenth-century reformations, both Protestant and Catholic. Moving beyond the cultural study of "the body"--a field she helped to establish--Bynum argues that Western attitudes toward body and person must be placed in the context of changing conceptions of matter itself. Her study has broad theoretical implications, suggesting a new approach to the study of material culture and religious practice.
This volume explores the power of matter and materials in the Eastern Roman Empire, also known as Byzantium. Recent attention to matter as dynamic and meaningful constitutes an emerging, interdisciplinary field of inquiry known as materiality, new materialism, or the material turn. Materials can be symbolic, but matter can also act on human subjects. This volume builds on these insights to consider the role of matter, materials, form, and embodied experiences in Byzantium. In many respects, Byzantine materiality represents a continuation of its Greco-Roman inheritance, which was also shared by neighboring peoples such as the Umayyads and Abbasids. But the Byzantines also developed their own, unique perspectives on matter and form, as with their parsing of the sacred materialities of icons, the Eucharist, and relics. Chapters in this volume consider the cultural meanings and functions of materials such as gold and ivory, the materiality of icons and relics, experiences of objects, as well as Byzantine philosophies of matter and form. Materiality takes center stage in Byzantine constructions of power, luxury, belief, and identity, which will be of interest to scholars and students of Byzantium and the wider medieval world.
Focuses on one of the most attractive features of late medieval manuscript illumination: the portrait of the book owner at prayer within the pages of her prayer-book.
Structured around in-depth and interconnected case studies and driven by a methodology of material, contextual, and iconographic analysis, this book argues that early European single-sheet prints, in both the north and south, are best understood as highly accessible objects shaped and framed by individual viewers. Author David Areford offers a synthetic historical narrative of early prints that stresses their unusual material nature, as well as their accessibility to a variety of viewers, both lay and monastic. This volume represents a shift in the study of the early printed image, one that mirrors the widespread movement in art history away from issues of production, style, and the artist toward issues of reception, function, and the viewer. Areford's approach is intensely grounded in the object, especially the unacknowledged material complexity of the print as a portable, malleable, and accessible image that depended on a response that was not only visual but often physical, emotional, and psychological. Recognizing that early prints were not primarily designed for aesthetic appreciation, the author analyzes how their meanings stemmed from specific functions involving private devotion, protection, indulgences, the cult of saints, pilgrimage, exorcism, the art of memory, and anti-Semitic propaganda. Although the medium's first century was clearly transitional and experimental, Areford explores how its potential to impact viewers in new ways?both positive and negative?was quickly realized.
The Oxford Handbook of Mystical Theology provides a guide to the mystical element of Christianity as a theological phenomenon. It differs not only from psychological and anthropological studies of mysticism, but from other theological studies, such as more practical or pastorally-oriented works that examine the patterns of spiritual progress and offer counsel for deeper understanding and spiritual development. It also differs from more explicitly historical studies tracing the theological and philosophical contexts and ideas of various key figures and schools, as well as from literary studies of the linguistic tropes and expressive forms in mystical texts. None of these perspectives is absent, but the method here is more deliberately theological, working from within the fundamental interests of Christian mystical writers to the articulation of those interests in distinctively theological forms, in order, finally, to permit a critical theological engagement with them for today. Divided into four parts, the first section introduces the approach to mystical theology and offers a historical overview. Part two attends to the concrete context of sources and practices of mystical theology. Part three moves to the fundamental conceptualities of mystical thought. The final section ends with the central contributions of mystical teaching to theology and metaphysics. Students and scholars with a variety of interests will find different pathways through the Handbook.
The Saturated Sensorium is a book about the senses and their media in the Middle Ages: a book about what it meant to sense and perceive something. The book highlights the integrated and unified nature of medieval senses and media. It discusses the inter- and multi-mediality of cultic and cultural artefacts as well as the sensorial and inter-sensorial dimensions of a wide array of cultural concepts and practices within medieval religion, art, archaeology, architecture, literature, music, food, social life, ritual, devotion, cognition, and memory. These domains of sensory and media history are dealt with, not as isolated anthology articles in only loose connection with one another, but as coordinate and comparative chapters of a coherent book each covering a principal branch of the cultural history of the medieval senses. Across a number of academic disciplines, specialists address the interdisciplinary and compound character of visus (sight), auditus (hearing), tactus (touch), olfactus (smell) and gustus (taste), showing that there was far more to the senses and to sense experience than these five classical Aristotelian categories might suggest. A plentiful variety of sensory modes interacted, crossed, and permeated each other in mutually entangled and braided ways. The saturated sensorium nurtured the sacred and secular practices of mediation, representation, and consumption; the embodied and mental concepts of sanctity, memory, and imagery; the physical and spiritual spaces of environment, cult, and burial; the material and visual culture of sacraments, sensation, and incarnation.
From the visual and textual art of Anglo-Saxon England onwards, images held a surprising power in the Western Christian tradition. Not only did these artistic representations provide images through which to find God, they also held mystical potential, and likewise mystical writing, from the early medieval period onwards, is also filled with images of God that likewise refracts and reflects His glory. This collection of essays introduces the currents of thought and practice that underpin this artistic engagement with Western Christian mysticism, and explores the continued link between art and theology. The book features contributions from an international panel of leading academics, and is divided into four sections. The first section offers theoretical and philosophical considerations of mystical aesthetics and the interplay between mysticism and art. The final three sections investigate this interplay between the arts and mysticism from three key vantage points. The purpose of the volume is to explore this rarely considered yet crucial interface between art and mysticism. It is therefore an important and illuminating collection of scholarship that will appeal to scholars of theology and Christian mysticism as much as those who study literature, the arts and art history.