07-01-2017, 03:24 PM
(This post was last modified: 07-01-2017, 03:26 PM by Diane.
Edit Reason: add
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Sam - it has to do with the draughtsman's mental image, recognising which is an important element in iconographic analysis.
So for example, we have many images of western manuscripts showing creatures with foliated (leafy-looking) limbs and tail and those examples informed the mental image of a draughtsman from that milieu.
But here, you see a particular idea of how the ears should look; the proportion of the nose to ears, the same oddly 'cute' character, the lack of overt demonisation. When you turn to the texts which also informed the western Christian way of thought, you find that the "draco" as serpent or as 'dragon' is constantly equated with evil, and with the devil. It is not a thing loveable or cute as a rule in Latin works, but an enemy - THE enemy as often as not - to be vanquished.
So that 'cute' and strangely affectionate way of representing the little dragon is unusual for western Christian art, though the echo of foliated limbs and tail indicate such an origin. Where we do find a conception of the 'cute little dragon' is in some insular and some northern work. In this case, the example I showed (or 'quoted') comes from a centre that, in the ninth century, was directly linked to the old centres of Irish monasticism on the continent, including those whose libraries had begun with Columbanus: Bobbio among them.
It's not as easy as setting two images side by side, as I'm sure you'll appreciate. One has to find just where the intersection occurs between the form given an image, where we may posit appropriate conception of the subject, and historical, archaeological, documentary and other matter which prove the opinion that two images are comparable: in origin, attitudes, style and intended significance.
It is proverbial that iconographic analysis is the study of "everything human beings think about".
So for example, we have many images of western manuscripts showing creatures with foliated (leafy-looking) limbs and tail and those examples informed the mental image of a draughtsman from that milieu.
But here, you see a particular idea of how the ears should look; the proportion of the nose to ears, the same oddly 'cute' character, the lack of overt demonisation. When you turn to the texts which also informed the western Christian way of thought, you find that the "draco" as serpent or as 'dragon' is constantly equated with evil, and with the devil. It is not a thing loveable or cute as a rule in Latin works, but an enemy - THE enemy as often as not - to be vanquished.
So that 'cute' and strangely affectionate way of representing the little dragon is unusual for western Christian art, though the echo of foliated limbs and tail indicate such an origin. Where we do find a conception of the 'cute little dragon' is in some insular and some northern work. In this case, the example I showed (or 'quoted') comes from a centre that, in the ninth century, was directly linked to the old centres of Irish monasticism on the continent, including those whose libraries had begun with Columbanus: Bobbio among them.
Quote:The strategic location of the monastery helped it become a major centre of religion, learning, craftsmanship, and trade by the 9th century and together with You are not allowed to view links. Register or Login to view. it was the most famous in Ireland, visited by scholars from all over Europe. - wiki 'Clonmacnoise'
It's not as easy as setting two images side by side, as I'm sure you'll appreciate. One has to find just where the intersection occurs between the form given an image, where we may posit appropriate conception of the subject, and historical, archaeological, documentary and other matter which prove the opinion that two images are comparable: in origin, attitudes, style and intended significance.
It is proverbial that iconographic analysis is the study of "everything human beings think about".