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Transfiguration: Southworth and Hawes, Reproduced Images and Body

100%
Handy E.
Artium Quaestiones
|
2022
|
issue 33
39-60
EN
The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.
2

The Transfiguration of the Real in Abstract Painting

88%
Wunenburger J.-J.
Human and Social Studies
|
2016
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vol. 5
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issue 2
77-89
EN
This article challenges a series of assumptions associated with abstract painting, arguing that this type of art makes one understand a visual manifestation which does no longer refer to the visible world only, but also to an intelligible world, accessible to the senses. Non-figurative painting abandons the reproduction of the visible, in order to present us with the invisible, and in order to account for this phenomenon the author elaborates three types of philosophical decision to interpret the mode of being of the image. The comprehension of this original experience of abstract art is then compared to the relations between the visible and the invisible, as Christian theology delineates them. Christianity is defined first by the experience of the figuration of God, by His embodiment, which actually enables one to conceive of certain images, such as the icon of the Orthodox liturgy, but at the same time it also bestows, for the first time, an incredible status to the disappearance of the visible divine body, when it returns to the invisible, while remaining present in the visible.
3
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Kilka uwag o wpływie hezychazmu na przedstawienie chrztu Chrystusa na przykładzie sztuki z terenów Królestwa Serbii

51%
Piórecka A.
Vox Patrum
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2018
|
vol. 70
485-497
EN
The influence of hesychasm on representation on Christ’s baptism isn’t so obvious as in the case of transfiguration, anastasis or koimesis. On the contrary to the mentioned above, it hasn’t had its own study. We can assume, that the rise of interest in hesychasm during the kingship of Milutin is connected to Milutin’s pro­gramme of translation important theological and philosophical texts into Serbian language. In all referred images, we can see a manifestation of the mystical light of God. In the case of transfigurations, koimesis and anastasis, this light is illustra­ted by mandorla (almond-shaped aureole) around Christ. In depictions of baptism, mandorla surround the dove of the Holy Spirit. In the Serbian art mandorla takes, repeatedly, very complicated shapes. Additionally, in the baptism and koimesis scenes, above Christ’s head, appear open doors of Heaven. This can emphasise presence of God.
4
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Człowiek mieszkaniem Trójcy Świętej. Refleksja na podstawie doświadczenia duchowego siostry Roberty Babiak

45%
Synoś P.
Roczniki Teologii Duchowości
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2010
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vol. 2
133-158
EN
The mystery of the Holy Trinity is not only the most profound truth in the Christian faith, but also the foundation of Christian spiritual life. This life in its essence appears as participation in the life of God Himself – of the Holy Trinity. The present article is an illustration of its kind of this truth; the illustration is based on Sister Roberta Babiak's spiritual experience. Sister Roberta Babiak is a Polish mystic who lived in the first half of the 20th century. She experienced the presence of the Holy Trinity, especially while receiving the Eucharist. Receiving the Eucharist Christ was for her entering a direct salutary relation with the Holy Trinity, as result of which she participated in a peculiar exchange of love between her and God. In Sister Roberta's life, in her unification with God perceived as the Trinity, also theological virtues played an important role. From the possibility of the Holy Trinity taking up residence in man his supernatural dignity results; and the very presence of Triune God in him contributes to his divinization.
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