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Indholdsfortegnelse. Abstract s. 3 Indledning s. 4 Teologiens maleri: En introduktion til 'Dissemblance' s. 6 Maleriet som materialitet: Urgrunden s. 12 Eksegesens udfoldelse: Hinsides Albertis fortælling s. 16 Scrovegni-‐kapellet: Negationens program s. 28 Giottos rum: Den mirakuløse scene s. 39 Giottos flade: Miraklets grund s. 43 Det guddommelige kød s. 48 Perspektivets mirakel s. 53 Efterskrift s. 70 Litteraturliste s. 72 Bilag s. 74-‐100 2
Abstract: "How to show a miracle: An analysis of incarnational pictures frem the Late Middle Ages and the Early Renaissance" This thesis has tried to move beyond one of the big problems in theological painting: How do you picture the moment of incarnation? By using a vocabulary largely developed by Georges Didi-‐Huberman, I have tried to clarify the complex meaning of the word 'dissemblance'. This concept, which has its origin, in medieval theology (Pseudo-‐Dionysos, Albert the Great, Aristotle) is understood as the opposite of 'ressemblance' -‐ in this case understood as 'ressemblence to God'. By transferring the ideal of dissemblance to the discipline of painting, a deformed (or 'abstract') element is introduced into the painting. The act of depicting dissemblance is the act of depicting the impossibility of depicting divinity. This concept derives a lot of its potence from the medieval line of 'negative theology': The miracle of incarnation is shown through the constant act of negation. The thesis starts with analyzing several Fra Angelico-‐paintings, then moving on to Giotto di Bondones paintings at the Scrovegni Chapel in Padua. The last part of the thesis is an attempt to show how the miracle of the incarnation can be shown within the confinement of mathematical linear perspective. In this part I have used Daniel Arasses concept of 'paradoxical perspective' , which means that a destabilizing element is installed within the perspective to draw your attention to the miraculous theme: The Annunciation. Again, the framework of the art pieces point to the inmpossiblity of showing the actual miracle. The thesis, in general, moves within the two poles of the "new art" of the Renaissance and the devout, theological values of the Late Middle Ages. 3
Page 1: Miraklets flade, mysteriets afgr
Page 5 and 6: Det er vigtigt i denne sammenh
Page 7 and 8: grund. I en historisk kontekst
Page 9 and 10: det kommer til udtryk i en me
Page 11 and 12: der vil komme. Mennesket forbli
Page 13 and 14: 'sløsethed' i marmorimitationen
Page 15 and 16: underspillet trone. Grunden imel
Page 17 and 18: mysteriet -‐ og til at bet
Page 19 and 20: a means of relating them to e
Page 21 and 22: Denne pointe er vigtig, fordi
Page 23 and 24: Damisch reducerer dette beskuere
Page 25 and 26: munkenes private celler. Billede
Page 27 and 28: Den eksegetiske logik synes at
Page 29 and 30: med henblik på at give freske
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Page 33 and 34: kapellet formidler sine mest ce
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Page 39 and 40: made profit of Christ" 88 . Gio
Page 41 and 42: I en eksegetisk tidslighed kan
Page 43 and 44: kunne være inspireret af den
Page 45 and 46: transformation. F.eks. bruger ha
Page 47 and 48: Serena Romano mener, at marmorp
Page 49 and 50: universet" 113 . Pseudo-‐Diony
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materien, der er ved at blive
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om perspektivet, ville der vær
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og at dette meget innovative s
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associationen af 'tømrerkonen' 1
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skaber Francesca et spil med i
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horisonten, og arkitekturens sæ
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agvæggen og på væggen ud mo
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ikke tale om voldsom malerisk
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et billede, hvor 'det du ser,
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en zone af uklarhed i den må
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17. Brook, Yaron: 'The Morality
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BILAG #2 Fra Angelico -‐ '
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BILAG #10 Giotto di Bondone -
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BILAG #12 Bill Viola -‐ 'T
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BILAG #20 Piero della Francesca
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BILAG #22 Fra Angelico -‐
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BILAG #24 Brunelleschi, Fillippo
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BILAG #26 Fra Carnevale -‐
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