English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In the thirteenth century, following Neoplatonic and Patristic trends, art and aesthetic experience were still treated as symbolic, as “vestiges” or “echoes” of the divine that lead us to it. However, in the early fourteenth century, attitudes to concrete sensory/aesthetic experience begin to shift and theologians adopted the model of concrete phenomenal observation of sensory experience. Concrete sensory-aesthetic experience is endowed with a much higher value: seeing something is not the same as imagining it, recalling it, or thinking about it. This new approach results in some heterodox views about our phenomenal experience and debates about the exact status of “intentional” (phenomenal) appearance. These debates lead to profound observations about the nature of aesthetic-sensory experience of art objects and a re-evaluation of the status of the artistic image, which is now seen as much more than the platonic “copy of a copy”. In other words, starting with the fourteenth century, theologians start to pay attention to concrete aesthetic (sensory) experience and use their observations to make conclusions about various cognitive and perceptual issues that could be relevant to a discussion of the divine. That is, quite separately from theoretical theological observations, art and aesthetic experience now provide independent approaches to the divine or spiritual via the experience of aesthetic wonder as a starting point. It is now our concrete experience of sensory and aesthetic objects that starts the train of thought, at times leading to some unorthodox conclusions that contradict the doctrine (such as the skeptical point of view). The intellectual shift in treating sensory and artistic objects in the fourteenth century invites some parallels with the current discussions of the experience of aesthetic wonder in “post-secular” thought.

religions

“He Who Sees Does Not Desire to Imagine”: The Shifting Role of Art and Aesthetic Observation in Medieval Franciscan Theological Discourse in the Fourteenth Century