tag:blogger.com,1999:blog-4176769156825838190.post2958148865075594328..comments2022-04-11T01:28:17.873-07:00Comments on A Blog of Beasts!: More Animal Categories: Allegorical, Scientific, and Marginal Art Animals in the Middle Ageshttp://www.blogger.com/profile/10809281152134119502noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-4176769156825838190.post-68735690399880611352022-03-04T02:01:42.229-08:002022-03-04T02:01:42.229-08:00Casino Tycoon 2021 - Las Vegas, NV - MapYRO
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It certainly covers significant portions of medieval animal art that we are not able to fit into categories of "scientific" and "allegorical" art. It occurs to me, though, that there may be art which is not in any of the three categories. Maybe an entirely different, looser system of categorization would work to describe a wider range of medieval art.<br /><br />The system that occurs to me involves starting not with the distinction between scientific and allegorical depictions, but with the distinction (or possibly a continuum) between depictions intended didactically and those not thus intended. We can then consider the marginalia as usually part of the category of non-didactic depictions. The depictions otherwise considered allegorical or scientific would then both be considered didactic, in that they attempt to demonstrate to the viewer some helpful aspect of the nature of the beast. The only real difference, then, is whether the aspect in question is what we would consider a scientific one. If it is, then the depiction would be such as Flores would call "scientific"--if not, then what she would call "allegorical."Luke Bretscherhttps://www.blogger.com/profile/02570008416437578457noreply@blogger.comtag:blogger.com,1999:blog-4176769156825838190.post-88190925060920074532015-05-12T10:29:50.669-07:002015-05-12T10:29:50.669-07:00In reading this post, it occurred to me that human...In reading this post, it occurred to me that human artists (and viewers/readers) continue to have complex relationships with depictions of animals we have never seen. While it could be argued that the mediation of film brings us into an illusory closeness with creatures many of us will never see in the flesh (great white sharks are a prime example), there is a whole set of animals that make an even better test case: dinosaurs. These reptiles have extensive cultural significance and high recognizability, despite 65 million years of extinction (and little more than a century of contemporary scientific reconstruction). We think of them as inaccessible yet undeniable real (somewhat as many medieval Europeans thought of dragons, unicorns, or elephants). And yet our depictions of them are highly conventionalized and frequently at odds with science. Velociraptors are a particularly extreme example. Asked to draw or describe one, most Americans would present something like this: http://bit.ly/1zWBIvV, whereas a paleontologist would know that the truth is closer to this: http://bit.ly/1gfHPia. But the latter looks like a turkey – it does not fulfill the visual expectation that we have of a “Velociraptor,” and so we reject it. In order for the beast to fulfill its cultural function, it must look like the first, fictional creature, not the second, scientific one – which is why the latest Jurassic Park film must reject several decades of science and provide us, once again, with dragons. It is not that they don't know better, as we patronizingly say of our medieval ancestors. It is rather that, bent and subjected to cultural rather than ecological evolution, animals must always sacrifice biology to gain a place in human society.<br /><br />-SLasmanSLasmanhttps://www.blogger.com/profile/14887450379899573262noreply@blogger.comtag:blogger.com,1999:blog-4176769156825838190.post-80241397520614101492015-05-10T11:15:51.938-07:002015-05-10T11:15:51.938-07:00Nice effort to tease out the distinctions that our...Nice effort to tease out the distinctions that our scholarship has tended to draw between "allegorical," "scientific," and marginal depictions of animals. Are you suggesting with your example from the Luttrell psalter that the illustrator meant all three animals (the ape, goat, and owl) to be both meaningful and "realistically" represented, but that he did better (in terms of "realism") with the owl because he had seen owls? Perhaps he simply had a better model for the owl (cf. Villehard de Honnecourt's sketchbook lion, "drawn from life"). I would have liked to hear more, as well, about your understanding of allegory: I tried to suggest in class that, in fact, all European Christian art, including the most "realistic" can be understood in some sense as "allegorical," given the Christian claim that all the animals were creatures made by God: the more "realistically" one represents them, the more meaningful they become as signs of the Creator's making. Indeed, the whole impulse in Western art towards "photorealism" can be read as a response to this desire to show God's working in creation. Discuss! RFLBAnimals in the Middle Ageshttps://www.blogger.com/profile/10809281152134119502noreply@blogger.com