Set in stone; the face in medieval sculpture.9780300117813 Set in stone; the face in medieval sculpture. Ed. by Charles T. Little. Metropolitan Museum of Art 2006 222 pages $50.00 Hardcover NB1932 In this beautifully illustrated catalog of over 80 sculpted sculpt v. sculpt·ed, sculpt·ing, sculpts v.tr. 1. To sculpture (an object). 2. To shape, mold, or fashion especially with artistry or precision: heads from French, German, and US museums, private collections and anonymous lenders, curator Little and his contributors describe each of the pieces and work through several interrelated in·ter·re·late tr. & intr.v. in·ter·re·lat·ed, in·ter·re·lat·ing, in·ter·re·lates To place in or come into mutual relationship. in themes. They cover such issues as the role of the face in medieval art, iconoclasm iconoclasm (īkŏn`ōklăzəm) [Gr.,=image breaking], opposition to the religious use of images. Veneration of pictures and statues symbolizing sacred figures, Christian doctrine, and biblical events was an early feature of Christian and its legacy of violence, the scientific detective story known as the Limestone Project, Faith in images in an illiterate age, marginalia mar·gi·na·li·a pl.n. Notes in the margin or margins of a book. [New Latin, neuter pl. of Medieval Latin margin , identity as portrayed in the carved faces, gothic Italy as a reflection of antiquity, and the unique history of reliquary reliquary (rĕl'əkwĕr`ē), receptacle containing the relics of saints and other sacred objects of the Christian religion. Reliquaries were often designed in shapes that reflected the nature of their contents, such as hands, shoes, busts. It is especially interesting to find out why the faces survive while the bodies to which they were attached did not. Distributed by Yale University Press. ([c]20072005 Book News, Inc., Portland, OR) |
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