A SUMMARY The medieval scholars’ (back to Dionysius, the Pseudo-Areopagite, AD 500) awareness and realization of the idea of Read more →
BOOKS & ARTICLES
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ON the medieval outlook of the inner form of art
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Paragrapf 13 0f theon’s rhetoric
Report thesis Тwo pages in paragraph 13 of Theon’s Rhetoric not available in the original text in Greek have Read more →
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Martiros Mnakyan
Մարտիրոս Մնակյան մաս1 Մարտիրոս Մնակյան մաս2 Read more →
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The origins of the medival armenian theatre
թատրոնը միջնադար. հայաստանում-մաս1 թատրոնը միջնադար. հայաստանում-մաս2 The theatre was a lively, artistic symbol of medieval town life both Western Europe Read more →
ON the medieval outlook of the inner form of art
A SUMMARY
The medieval scholars’ (back to Dionysius, the Pseudo-Areopagite, AD 500) awareness and realization of the idea of hidden beauty in art has been referred to in the article.
The art was perceived as a cognitive reality and no longer an admirable reality. This was the key context for the judgement of the medieval scholars of Armenian decent, starting from Hovhan Mandakouni and David the Invincible (5th century) to Nerses the Lambronese (12th century). The point is, what should be considered as primary when it comes to the formal foothold in the art: the tangible substance as a sensibly perceived reality or the idea as a product of spiritual contemplation. This appears to be referring to the timeless issue of the correlation of matter and form in the framework of the transitional period in terms of the understanding of art.
Translated by Astghick H.Hovhannissian