Abstraction and ineffability in the visual cultural central middle ages and intersubjective apophatic imagination: a first approximation
Daniel González Erices
Abstract and quasi-abstract motifs were widely used in the religious images of central Middle Ages. In many cases, these certainly not simple ornamental devices but, on contrary, they functioned as cognitively challenging semiotic affected by complex theological ideas. As this article will suggest, miniatures discussed here — produced Byzantine, Insular, Carolingian, Ottonian contexts created accordance with apophatic spirituality, using nonfigurative representation to emphasise God’s ineffability. Thus, visual culture from late seventh early eleventh century established an intricate transregional network which iconic symbolic contents communicated rhizomatically. This phenomenon be described intersubjective imagination. The aim notion is reflect influence important authors, whether closely or distantly associated via negativa, such Pseudo Dionysius Areopagita, Kosmas Indikopleustes, Bede, Ioannes Scotus Eriugena. Taking elements into account, argue that aesthetic semantic singularities question would have sought avoid presentification meaning a way capturing incomprehensibility divine essence.
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