Imagining the divine : art and the rise of world religions : [exposition, Oxford, Ashmolean Museum of Art and Archaeology, 19 octobre 2017-18 février 2018]
Bibliographie
- Auteurs : Elsner John (1962-....) ; Lenk Stefanie ; Ashmolean Museum ;
- Editeurs : Oxford Ashmolean Museum of Art and Archaeology, University of Oxford ;
- Date d'édition : Copyright 2017
- ISBN : 978-1-910807-18-7, 1-910807-18-4
- Sujets : Art et religion -- Histoire -- Catalogues d'exposition, Catalogues d'exposition, Ashmolean Museum -- Catalogues d'exposition
- Comprend : Art and the rise of world religions
- Langue(s) : Anglais
- Description matérielle : 1 vol. (232 p.), : Ill. en coul., cartes, couv. ill. en coul., 28 cm
- Pays de publication : Royaume-Uni
Notes
Bibliogr. et notes bibliogr. p. 213-217. Chronol.. Index
Résumé
Le rabat supérieur de la jaquette indique : 'Religion has always been a fundamental force for constructing identity, from antiquity to the contemporary world. The transformation of ancient cults into faith systems, which we recognise now as major world religions, took place in the first millennium AD, in the period we call 'Late Antiquity'. Our argument is that the creative impetus for both the emergence, and much of the visual distinctiveness of the world religions came in contexts of cultural encounter. Bridging the traditional divide between classical, Asian, Islamic and Western history, this exhibition and its accompanying catalogue highlights religious and artistic creativity at points of contact and cultural borders between late antique civilisations. This catalogue features the creation of specific visual languages that belong to four major world religions: Christianity, Judaism, Buddhism and Islam. The imagery still used by these belief systems today is evidence for the development of distinct religious identities in Late Antiquity. Emblematic visual forms like the figure of Buddha and Christ, or Islamic aniconism, only evolved in dialogue with a variety of coexisting visualisations of the sacred. As late antique believers appropriated some competing models and rejected others, they created compelling and long-lived representations of faith, but also revealed their indebtedness to a multitude of contemporaneous religious ideas and images.'