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Theory of the Image$
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Thomas Nail

Print publication date: 2019

Print ISBN-13: 9780190924034

Published to Oxford Scholarship Online: June 2019

DOI: 10.1093/oso/9780190924034.001.0001

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The Medieval Image, II

The Medieval Image, II

Chapter:
(p.224) Chapter 11 The Medieval Image, II
Source:
Theory of the Image
Author(s):

Thomas Nail

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190924034.003.0012

This chapter continues the thesis of Chapter 10 in demonstrating that a kinesthetic shift occurred in the arts from a centrifugal to a more tensional pattern of motion over the course of the Middle Ages. This chapter demonstrates that same thesis in the arts of perspective, keyboard music, and epistolography. The argument is that each of these major fields is defined predominately by a distinctly tensional pattern of motion and a relational aesthetics. All the newly dominant arts of the Middle Ages are defined by the kinesthetic pattern of relational or linked tensional motions holding images together and apart. The brilliant insight of the Middle Ages is that aesthetic form is nothing other than the polygonal intersection of a network of material kinetic relations.

Keywords:   Tension, perspective, keyboard music, epistolography, medieval art, art history

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