Medieval Visual Metaphors and Beasts Noble and Savage

Abstract

D. I. Antonov and M. R. Maizul's, Demony i greshniki v drevnerusskoi ikonografii: Semiotika obraza (Demons and Sinners in Old Russian Iconography: The Semiotics of the Image). 384 pp. Moscow: Indrik, 2011. ISBN-13 978-5916741490. Aleksandr E. Makhov, Srednevekovyi obraz: Mezhdu teologiei i ritorikoi. Opyt tolkovaniia vizual 'noi demonologii (The Medieval Image: Between Teleology and Rhetoric. An Attempt at an Interpretation ofVisual Demonology) .256 pp. Moscow: Izdatel'stvo Kulaginoi--Intrada, 2011. ISBN-13 978-5903955053. E. V. Pchelov, Bestiarii Moskovskogo tsarstva: Zhivotnye v emblematike Moskovskoi Rusi kontsa XV-XVII vv. (A Bestiary of the Muscovite Tsardom: Animals in the Emblems of Muscovite Russia from the Late 15th through the 17th Centuries). 202 pp. Moscow: Staraia Basmannaia, 2011. ISBN-13 978-5904043476. The authors of these three volumes closely examine how medieval European and Muscovite artists used bestiary images in attempting to capture the liminal moment that revealed the true nature of demons and sinners, on the one hand, and reinforced the majesty of the state, on the other. Both the monograph by Makhov and that by Antonov and Maizul's focus on visual animal imagery that reflects the darker side of liminality to represent the dark mirror of the soul. Pchelov, in contrast, investigates the Muscovites' transformation of many of these same creatures into noble emblems of state power. All three studies explore symbolic worlds characterized by an underlying duality that is especially evident in allegorical representations of beasts meant to illustrate noble or ignoble aspects of humanity. (1) A. E. Makhov focuses on the changing image of demons in the emerging Christian culture of the West. He sees the development of West European medieval visual demonology as a reflection of both theological and rhetorical concepts. Just as writers of the period interwove contradictory elements to produce literary works simultaneously concealing and revealing truth, so artists transformed the visual image into a theologically significant narration uniting disparate elements that characterized the medieval epitome of beauty. He finds this multifaceted approach reflected especially clearly in the development of the iconography of the devil, whose image was required to embody recognizable scriptural and liturgical elements symbolizing the demonic nature. Drawing upon an impressive body of representations of demons in paintings, frescoes, architectural details, and manuscript illustrations gathered from churches, museums, and libraries throughout Western Europe and the United States, Makhov skillfully interleaves visual and textual evidence into his analysis of this medieval image's construction. One or more black-and white illustrations accompany almost every page of text, and a central insert contains 32 pages of full-color plates, most with multiple images, all referenced clearly in the text. [ILLUSTRATION OMITTED] Makhov focuses most extensively on the theology of the demonic image, beginning with the devil's origins in Lucifer's pride. The fallen angel's rebellion upset the peaceful foundation upon which creation was based. Having caused this imbalance, the devil is literally out of order. His disordered essence fragmented into innumerable variations, reflecting a state of diminishment (umalenie) that transformed the devil into the king of the material world. In the end, however, the devil plays an essential role in the fulfillment of God's plan, serving as the tempter and punisher, without whom the righteous would not win their reward. The first part of the monograph (15-187) juxtaposes texts and images to demonstrate the theological meaning of demonic poses, gestures, and guises. For example, by raising a foot or dancing over die mouth of Hades to celebrate power over sinners, the devil contrasts demonic disorder with angelic stillness. He can even assume the form of an angel. …