Devotional Technologies in Islamic Art. Pilgrims, Relics, and Copies.
Hazan| N° d'inventaire | 22122 |
| Format | 14 x 21 |
| Détails | 287 p., paperback. |
| Publication | Paris, 2019 |
| Etat | Nine |
| ISBN | 9782754111171 |
This book presents the six lectures given at the Louvre Museum by Finbarr Bary Flood from September 26 to October 14, 2019, on devotional technologies in the arts of Islam. http://mini-site du louvre.fr/trimestriel/2019/Chaire_du_louvre_2019 In a 1920 text, Aby Warburg expressed the hope that an “alliance between the history of art and the study of religion” would be realized. This wish constitutes the appropriate starting point for a series that argues for the need to examine the intimate relationships between bodies, materials, and technologies in devotional rituals. From the mimesis of sacred architecture to the copying of texts, including the embodied repetition of rituals, two fundamental dimensions of the phenomenology of devotion are reproduction and seriation. The material culture of Islamic pilgrimage is rich in examples—including architecture, sacred matter, and portable souvenirs—that often have links to techniques and technologies of mass production and reproduction, such as engraving, casting, and stamping, as if to reproduce the “impressions experienced by the pilgrims themselves.” Reflecting a shared belief in the ability of certain materials to act as mediators of the efficacious aura of an individual, place, or relic, the perceived efficacy of objects was, it is arguable, enhanced rather than diminished by mass production. Often, the objects in question lent themselves to multi-sensory consumption practices, far removed from the disembodied observational practices cultivated in post-Enlightenment thought and canonized in modern galleries and museums. This alliance between embodied devotional rituals and mass production technologies poses the oldest of questions, that of the nature of copying, in a way that invites us to consider its very ancient modern dimension. Lecture series by Finbarr Barry Flood at the auditorium of the Louvre Museum: -Thursday, September 26, 2019 Taking the Measure -Monday, September 30, 2019 Incorporating through Dust -Thursday, October 3, 2019 Healing with Images and Words -Monday, October 7, 2019 Tracing the Contours -Thursday, October 10, 2019 Making an Impression -Monday, October 14, 2019 Bodies and Copies, from Devotion to Exhibition Each year, a renowned scientist presents at the auditorium of the Louvre Museum a unique synthesis on an original subject, which allows for transdisciplinary connections between works from around the world.
This book presents the six lectures given at the Louvre Museum by Finbarr Bary Flood from September 26 to October 14, 2019, on devotional technologies in the arts of Islam. http://mini-site du louvre.fr/trimestriel/2019/Chaire_du_louvre_2019 In a 1920 text, Aby Warburg expressed the hope that an “alliance between the history of art and the study of religion” would be realized. This wish constitutes the appropriate starting point for a series that argues for the need to examine the intimate relationships between bodies, materials, and technologies in devotional rituals. From the mimesis of sacred architecture to the copying of texts, including the embodied repetition of rituals, two fundamental dimensions of the phenomenology of devotion are reproduction and seriation. The material culture of Islamic pilgrimage is rich in examples—including architecture, sacred matter, and portable souvenirs—that often have links to techniques and technologies of mass production and reproduction, such as engraving, casting, and stamping, as if to reproduce the “impressions experienced by the pilgrims themselves.” Reflecting a shared belief in the ability of certain materials to act as mediators of the efficacious aura of an individual, place, or relic, the perceived efficacy of objects was, it is arguable, enhanced rather than diminished by mass production. Often, the objects in question lent themselves to multi-sensory consumption practices, far removed from the disembodied observational practices cultivated in post-Enlightenment thought and canonized in modern galleries and museums. This alliance between embodied devotional rituals and mass production technologies poses the oldest of questions, that of the nature of copying, in a way that invites us to consider its very ancient modern dimension. Lecture series by Finbarr Barry Flood at the auditorium of the Louvre Museum: -Thursday, September 26, 2019 Taking the Measure -Monday, September 30, 2019 Incorporating through Dust -Thursday, October 3, 2019 Healing with Images and Words -Monday, October 7, 2019 Tracing the Contours -Thursday, October 10, 2019 Making an Impression -Monday, October 14, 2019 Bodies and Copies, from Devotion to Exhibition Each year, a renowned scientist presents at the auditorium of the Louvre Museum a unique synthesis on an original subject, which allows for transdisciplinary connections between works from around the world.