engleski

IKON 9 - Icons and Iconology

The ninth volume of journal IKON publishes papers presented at the Eighth international conference of iconographic studies held in June 2015 in Rijeka and Clinton (Massachusetts, USA) in the organization of the Center for Iconographic Studies of the University of Rijeka and the Museum of Russian Icons in Clinton, as well as the co-organization of The American University of Rome, The Institut for Philosophy and Social Theory of the University of Belgrade, The Institute for the Study of Culture and Christianity in Belgrade, Harvard University, University of Ljubljana and The Gregorian Pontifical University in Rome. The conference was organized in two parts: the first one was held in Rijeka on the 3rd and 4th of June, and the second one in Clinton on 11th and 12th of June. The authors of the 34 papers published in this issue seek to explore and discuss recent development in the discourse among theology, art history, philosophy and cultural theory concerning the ways we perceive and interpret icons, iconography and iconology. One of the objectives is to offer an insight into the development of iconographic studies and related disciplines, and to reflect upon their future development in the broader context of the humanities. Icons, iconography and iconology represent some of the most prominent concepts and research topics of art history. The papers refer both to a particular artistic practice, to liturgical objects, and to methods of art historical interpretations. Given this multitude of meanings and functions that the concepts of icon, iconic, iconography and iconology imply, it is not surprising that icons have been interpreted as objects of theological reflection, didactic instruments, media of transmitting visual, aesthetic and metaphysical content, and, finally, as artworks in the modern sense of the word. The themes and subjects in this volume problematize icons, iconography and iconology from “Western” and “Eastern” perspectives, sacred and profane icons, reverse perspective, formal and metaphysical dimensions of icons, icons as a medium and metaphor, icons of power and icons as power, the relation between icons and modern culture, icons and film and digital media, icons and the “canon” of modern art, modern and contemporary icon painting, theological and philosophical reception of icons and various and historical iconoclasms. The problems are approached interdisciplinary with specific focus on the relationship between text (as the source and the reference), image (as visual transposition of an idea within norms) and other media.

icons ; iconology ; methodology ; art history ; Byzantium

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