Sight Unseen: Mediating Vision and Emotion in Gothic Revival Churches c.1830–50

IF 0.4 0 HUMANITIES, MULTIDISCIPLINARY
Erin A. Hammond
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引用次数: 1

Abstract

With the revival of Gothic ecclesiastical architecture in nineteenth-century Britain, a cultural interest in church furnishings reignited alongside intellectual attention to their symbolic and emotive power. Rood screens, in particular, became both a symbolic and literal locus for the production of awe, mystery and revelation. The primitive interpretation of rood screens both exalted the object symbolically and allowed it to activate the spiritual senses by limiting physical sight to the altar, thus preserving the mysteries of the Eucharist. This essay considers how rood screen controversies during the mid-Victorian period unveil complex relationships between emotion, revelation and sight within Gothic Revival church interiors.
《看不见的景象:哥特复兴教堂中调解视觉与情感》(1830 - 1850)
随着19世纪英国哥特式教堂建筑的复兴,人们对教堂家具的文化兴趣重新燃起,同时也引起了知识分子对其象征和情感力量的关注。尤其是十字架的屏幕,成为了产生敬畏、神秘和启示的象征性和字面意义上的场所。原始的解释,既提升了物体的象征意义,并允许它激活精神感官,通过限制物理视线的祭坛,从而保留了圣餐的奥秘。本文考虑了维多利亚时期中期的十字架屏幕争议如何揭示了哥特式复兴教堂内部情感,启示和视觉之间的复杂关系。
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来源期刊
Emotions-History Culture Society
Emotions-History Culture Society HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.70
自引率
0.00%
发文量
3
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