By David Morgan

ISBN-10: 0520243064

ISBN-13: 9780520243064

"Sacred gaze" denotes any method of in view that invests its object--an snapshot, somebody, a time, a place--with religious value. Drawing from many various fields, David Morgan investigates key points of imaginative and prescient and imagery in numerous spiritual traditions. His full of life, cutting edge publication explores how audience soak up and procedure spiritual imagery and the way their adventure contributes to the social, highbrow, and perceptual development of truth. Ranging commonly from thirteenth-century Japan and eighteenth-century Tibet to modern the United States, Thailand, and Africa, The Sacred Gaze discusses the spiritual capabilities of pictures and the instruments audience use to interpret them. Morgan questions how worry and disgust of pictures relate to each other and explains how students research the lengthy and evolving histories of pictures as they go from tradition to tradition. An interesting strand of the narrative information how photos have helped to form well known conceptions of gender and masculinity. the hole bankruptcy considers definitions of "visual tradition" and the way those relate to the conventional perform of artwork history.
Amply illustrated with greater than seventy pictures from different spiritual traditions, this masterful interdisciplinary research presents a finished and obtainable source for everybody drawn to how spiritual pictures and visible perform order house and time, converse with the transcendent, and include types of communion with the divine. The Sacred Gaze is an important creation to the examine of the visible tradition of religions.

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Instead of gazing upon the vision before him, Luke appears to be looking at his drawing or, at most, caught in the moment of looking from the Virgin to his own image of her, or rather the image that the angel beside him draws by guiding his hand. Luke gestures ambivalently with his left hand: is he responding to the apparition before him or the image taking shape on paper? In either case, the position of the hand says the same: Behold, the Mother of God and her Offspring. That Luke does not gaze at the vision and is assisted by an angel suggests that his gesture replies to the drawing, which, of course, the entire image assures us, is imbued with the glory of its original.

The place of theory in my approach to visual culture is to keep images within view, to offer fresh ways of thinking about what one sees. Theoretical reflection provides an indispensable service by interposing a critical distance between what scholars see and what they think about what they see. For instance, many scholars ignore images in their research because their notion of evidence does not include pictures. They have determined a priori that certain forms of information, such as textual documents, are primary, and they proceed to interpret these according to certain rules of evidence and analysis.

There was a time, after all, when artists such as Rembrandt or Grünewald were ignored or even forgotten. The term visual culture marks a fundamental shift in the study of images—from an object- and artist-centered to a practice-centered discourse. A constructivist emphasis does not deny or ignore artistic intention but refuses to stop with its determination as the limit of an artwork’s meaning. Many forms of critical theory, the social history of art, the sociology of art, and the study of reception move beyond the object or artist as the primary locus or source of meaning.

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The Sacred Gaze by David Morgan


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