From Sarapis to Christ to the Caliph : Faces as Re-Appropriation of the Past

FOLETTI, Ivan a Katharina MEINECKE. From Sarapis to Christ to the Caliph : Faces as Re-Appropriation of the Past. In Elsner, Jas'; Wood, Rachel. Imagining the Divine : exploring art in religions of late antiquity across Eurasia. London: British Museum Press, 2021, s. 111-132. British Museum Press. ISBN 978-0-86159-234-0.

Základní údaje

• Originální název: From Sarapis to Christ to the Caliph : Faces as Re-Appropriation of the Past
• Autoři: FOLETTI, Ivan (203 Česká republika, garant, domácí) a Katharina MEINECKE (276 Německo).
• Vydání: London, Imagining the Divine : exploring art in religions of late antiquity across Eurasia, od s. 111-132, 22 s. British Museum Press, 2021.
• Nakladatel: British Museum Press

Další údaje

• Originální jazyk: angličtina
• Typ výsledku: Kapitola resp. kapitoly v odborné knize
• Obor: 60401 Arts, Art history
• Stát vydavatele: Velká Británie a Severní Irsko
• Utajení: není předmětem státního či obchodního tajemství
• Forma vydání: tištěná verze "print"
• Kód RIV: RIV/00216224:14210/21:00121142
• Organizační jednotka: Filozofická fakulta
• ISBN: 978-0-86159-234-0
• Klíčová slova anglicky: Sarapis; Christ; Caliph; Umayyad coins; Santa Pudenziana; Faces; Traditio Legis; Palmira
• Štítky: rivok

Anotace

What makes a face? What makes a body? In this essay we will reflect, in a two-person dialogue, on the shift in forms and concepts from the pagan visual world to that of the early Christians and the Umayyad caliphate. Our aim is to investigate how authority was created through the appropriation of images from the past. We do not wish to present a complete panorama – that would be impossible in these few pages – but rather concentrate on certain types. We will begin with the face of a man (and god) with a long beard and long hair, present across the three religious cultures considered. Then we will complete the argument with the introduction of the whole body, with particular attention to the standing figure. Finally, we will examine the reclining banqueter as a motif appropriated from the distant past.