عنوان
پدید آورنده
موضوع
رده
کتابخانه
محل استقرار
NATIONAL BIBLIOGRAPHY NUMBER
Number
LA125594
LANGUAGE OF THE ITEM
.Language of Text, Soundtrack etc
انگلیسی
TITLE AND STATEMENT OF RESPONSIBILITY
Title Proper
John Muafangejo's How God Loves His People All Over the World as Material Religion
General Material Designation
[Article]
First Statement of Responsibility
Jaco Beyers, Lize Kriel, Jaco Beyers, et al.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
Leiden
Name of Publisher, Distributor, etc.
Brill
SUMMARY OR ABSTRACT
Text of Note
The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke's Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943-1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determining the meaning of art. Iconology wants to enable the seeing of the unseen; seeing the transcendence-making it most applicable to the study of religion as a cultural practice. This article investigates in a critical way how iconology can assist in the study of material religion, especially as applied to the study of religious art. Because meaning is contextual, the conditions under which religious objects are made and interpreted are as important as the work itself. A discussion of a specific work by John Muafangejo originating from the Rorke's Drift Centre will be conducted by testing the potential of iconology as an analytical tool in this African Christian environment. The artworks produced at the Evangelical Lutheran Church Art and Craft Centre at Rorke's Drift, KwaZulu-Natal, have been highly appraised and appreciated in South African art-historical circles, not in the least so as African expressions of postcolonial and anti-apartheid resistance. The work of Namibian artist John Muafangejo (1943-1987) is prominent amongst these. In this article, while borrowing generously from the methods of art historical research, our interest is primarily in works of art as objects of material religion. Erwin Panofsky introduced iconology as a way of determining the meaning of art. Iconology wants to enable the seeing of the unseen; seeing the transcendence-making it most applicable to the study of religion as a cultural practice. This article investigates in a critical way how iconology can assist in the study of material religion, especially as applied to the study of religious art. Because meaning is contextual, the conditions under which religious objects are made and interpreted are as important as the work itself. A discussion of a specific work by John Muafangejo originating from the Rorke's Drift Centre will be conducted by testing the potential of iconology as an analytical tool in this African Christian environment.
SET
Date of Publication
2020
Physical description
379-398
Title
Religion and the Arts
Volume Number
24/4
International Standard Serial Number
1568-5292
UNCONTROLLED SUBJECT TERMS
Subject Term
art
Subject Term
Christianity
Subject Term
iconology
Subject Term
John Muafangejo
Subject Term
material religion
Subject Term
meaning
PERSONAL NAME - PRIMARY RESPONSIBILITY
Jaco Beyers
Lize Kriel
LOCATION AND CALL NUMBER
Call Number
10.1163/15685292-02404002
ELECTRONIC LOCATION AND ACCESS
Electronic name
مطالعه متن کتاب p
[Article]
275578
a
Y
