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Material Religion
The Journal of Objects, Art and Belief
ISSN: 1743-2200 (Print) 1751-8342 (Online) Journal homepage: https://www.tandfonline.com/loi/rfmr20
Iconic Presence. Images in Religious Traditions
Hans Belting
To cite this article: Hans Belting (2016) Iconic Presence. Images in Religious Traditions, Material
Religion, 12:2, 235-237, DOI: 10.1080/17432200.2016.1172769
To link to this article: https://doi.org/10.1080/17432200.2016.1172769
© 2016 The Author(s). Published by Informa
UK Limited, trading as Taylor & Francis
Group
Published online: 22 Jun 2016.
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235
Volume12
Issue2
MaterialReligion
InConversation
IconicPresence.ImagesinReligiousTraditions
HansBelting
iconic presence. images in
religious traditions
Hans Belting
Iconic presence is presence in and as a picture.1
The physical presence of a picture in our world
refers to the symbolic presence which it depicts.
Similar to body and voice – and different from
writing – the picture involves a representation
which produces an impression of presence. This
presence occupies an absence that is filled with a
picture. In the iconic presence, absence is marked.
Without denying the absence of what they
represent, pictures offer absence as presence.
The mask is just such a picture. It creates iconic
presence by placing another face on the body. In
the case of a dead person it restores the missing
face. In the case of an actor, the face itself turns
into a mask, and thus conveys a picture. If“iconic
difference”(Boehm 1994, 29ff.) is a hermeneutic
concern, iconic presence is an anthropological
issue.
In the context of religion, pictures represent
deities who have no direct presence in the physical
world; these deities are not held to be absent
(let alone non-existent), but in need of a picture
in order to become visible. In primal religions,
living bodies transform into apparitions through
dance and voice. In the Christian tradition, visual
artefacts behaved as living bodies that wept,
worked miracles, and were carried through“their”
town, as if they could walk by themselves. This
enactment governs the appearance of pictures.
Such a procession of a holy image lives on in the
Semana Santa of Sevilla even today. It is already
attested in the eighth century by the miraculous
image of the Salvator in Rome.
Scholars in religious studies have begun to
acknowledge the importance of materiality in
religious practice. This is proven by concepts such
as“visible religion”(the title of a journal edited
by Hans Kippenberg in the 1980s at Groningen
University) or“iconic religion”(the theme of this
special issue). In her inaugural lecture at Utrecht
University, Birgit Meyer (2012) discerns a“genesis
of presence”in material and iconic religious
practice. In the English title of my book Bild und
Kult (1994) the terms Likeness and Presence refer
to the performative capacity and iconic presence
of particular pictures in the Christian tradition.
This offers possibilities for an interdisciplinary
discourse which transcends the European arena
and includes other religions.
Iconic production differs significantly across
the various religions, and yet relies on similar
patterns that emerge through comparison.
Similarly, the meaning of what we call religion
differs across the cultures of the world. In order
to understand religion as the central symbolic
form of social life, we must question the modern
understanding of religion, which is a result of
the Enlightenment. Anthropology was once the
only field for studying other cultures. Eurocentric
bias was present already in Christian theology,
which took a paternalistic view of other religions
that informed its missionary activities in the
framework of colonialism. In the global era, one’s
own culture can no longer serve as the sole and
universal yardstick for theory formation. This
insight also challenges our perspective on the
so-called“pre-modern”history of Europe, which
we have long renounced as a constitutive part
of our cultural identity. This raises the question
as to whether we are able and willing to include
our own culture (and the role of religion therein)
in an anthropological discourse, turning from a
theology of pictures to an anthropology of visual
practice.
In the context of religion, pictures have a
special ontological status which distinguishes
them from other pictures. Their evidence is tied
to the belief of their devotees. As a result of this,
they have often drawn reprimands and attracted
critics who break their power over the imagination.
The destruction of idols (iconoclasm) and
the veneration of icons are two sides of the same
coin. One can imagine that in pre-historic times
this conflict started as a fight between the pictures
of two different tribes. The Old Testament
is filled to the brim with curses of the gods and
cultic images of the neighbouring tribes against
whom the Israelites waged war.
The art historian Hans Belting is Professor Emeritus of art
history and media theory at the School for New Media at
Karlsruhe and presently Honorary Professor of the University
Heidelberg as well as Fellow of the Forschergruppe Bildevidenz
at the Free University in Berlin. In 2015 he received the
Balzan Prize for History of European Art.
hbelting@hfg-karlsruhe.de
Material Religion volume 12, issue 2, pp. 235–237
DOI: 10.1080/17432200.2016.1172769
© 2016 The Author(s). Published by Informa UK Limited, trading as Taylor
& Francis Group.
This is an Open Access article distributed under the terms of the
Creative Commons Attribution-NonCommercial-NoDerivatives
License (http://creativecommons.org/licenses/by-nc-nd/4.0/), which
permits non-commercial re-use, distribution, and reproduction in any
medium, provided the original work is properly cited, and is not altered,
transformed, or built upon in any way.
236
Akin to the monuments of fallen despots in
more recent times, religious pictures fell victim
to iconoclasms directed against false or misused
images (i.e. idols). In Judaism and Islam, the ban
on images pertained only to their religious use
and was directed against the visual practices of
other populations; in Judaism against an older
pictorial tradition (Uehlinger 2003) and in Islam
against the use of images in Christian churches
(Fowden 2014).
In the context of Christianity the use of
images was central to the project of becoming a
world religion and of eschewing its Jewish legacy.
The“true”portrait of Christ, a late phenomenon
after the Council of Chalcedon (451), possessed
a special evidence that was appropriated by
competing theological schools in divergent ways.
Pictures were then upgraded as originals. Iconic
presence began to compete with the word in textual
revelation. Already the notion of the Mother
of God (Theotokos) at the Council of Ephesus
(431) enhanced the doctrine of the two natures
of Christ in one human face. Islamic theology
returned to the verbal revelation of God. The
Qur’an has been introduced as a book which God
has sent to his prophet. With the Islamic rejection
of Jesus as the son of God, the visibility of God
became taboo once more.
Aniconism is a picture theory under reverse
conditions and usually reflects a negative experience
with pictures. In the Reformation, text and
picture competed with one other as different
religious media, in a turn again Catholic visual
politics. The Counter-Reformation above all used
the weapons of a re-catholicized visual politics
that transformed the space of the church into
a theatre of heaven. The church directed this
strategy against the private reading of the bible
propagated by the Reformation. In modern secular
society, religious pictures lost their old credibility,
which also damaged their status as works
of art. So even within the same religious tradition
pictures were subject to historical change.
Theological writing brings iconic presence
into play via a counter-concept with a relevance
of its own. It is the concept of“real presence”—of
Jesus in the Eucharist—that already had a long
history when propagated in 1204. It refers to
the words“This is my body”which Jesus spoke
over the bread he was breaking during the Last
Supper. These words were interpreted as an
exchange of substance between bread and the
body of Christ, which is not visible in the outer
shape of the host. In this way, pictures are put in
their place. But then the host began to perform
miracles and bleed just as the pictures did. A
competition for attention ensued. It is telling that
at the time of the propagation of the doctrine
of real presence, the miracle image of Veronica
appeared in Rome and was venerated as the“true
face”of Jesus.
Importantly, in Europe the question of art has
been inscribed into religious pictures since the
Renaissance. Here the rise of art marked a turning
point in the history of images which is foundational
for art history. Pictures not only carried
the names of artists, but displayed their personal
views on religion. The practice of art began
without a fixed concept of art. But it developed
specific evidence that distinguishes works of art.
The notion of art emerged in the heart of the
religious picture, with the themes still remaining
the same. In an evolving market, personal artistic
style became a brand in its own right. In the
French writings of the time,“art”is introduced
with the term“science”, while“art”refers to craft.
The concept of Poesia, used much later by Titian
when referring to his own pictures with mythological
subjects, had hitherto been the privilege
of poets. Giovanni Bellini defended the“bella
fantasia”against the expectations of his patrons,
thereby initiating the era of art collections.
The narrative of my book Likeness and Presence
may have led to the misunderstanding that
there would be a direct path from the (religious)
cult image to the (aesthetic) work of art. However,
the shift to“art”occurred within the private devotional
picture in the course of its liberation from
collective and public control. It was directed to
accommodate the private gaze, which eventually
yielded a specific aesthetic. This history had
already begun with the“Book of Hours”, a pictorial
prayer book for private users. It was followed
by the devotional picture, whose owners often
brought themselves into the picture. So, historically
the private ownership of pictures took off
in the religious sphere and was continued in the
language of art under new premises.
The final chapter of Likeness and Presence has
triggered an ongoing controversy about the presence
of religion in the art of the Renaissance. This
issue is not a systemic one, however, but requires
a historical approach. Religion does not disappear
from art, but undergoes a transformation by
virtue of its incorporation into the domain of art,
which in turn transforms the history of pictures.
Note and References
1
This essay delineates my new research project. Iconic
Presence. Images in Religion, which is supported by
the International Balzan Prize Foundation. This project
will be based on a collaboration between the research
group Bildevidenz at the Free University, Berlin, the
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IconicPresence.ImagesinReligiousTraditions
HansBelting
Zentrum für Literatur-und Kulturwissenschaft, Berlin,
and the Centre for Medieval Studies at Brno University,
Czech Republic.
Boehm, Gottfried. 1994.“Die Wiederkehr der Bilder [The
Return of the Images].”In Was ist ein Bild? [What is an
image?] edited by G. Boehm, 11–38. München: Wilhelm
Fink.
Belting, Hans. 1994. Likeness and Presence: A History of
the Image before the Era of Art. Chicago: University of
Chicago Press.
Fowden, Garth. 2014. Before and After Muhammad.
Princeton, NJ: Princeton University Press.
Meyer, Birgit. 2012. Mediation and the Genesis of Presence:
Towards a Material Approach to Religion. Inaugural
lecture, Utrecht University.
Uehlinger, Christoph. 2003.“Exodus, Stierbild und
biblisches Kultbildverbot [Exodus, the bull image and
the biblical interdiction of image].”In Freiheit und Recht:
Festschrift für Frank Crüsemann zum 65 [Freedom and law:
Studies in honor of F. Crusemann 65]. Geburtstag, edited
by Christoph Hardmeier, Rainer Kessler, and Andreas
Ruwe, 42–77. Gütersloh: Gütersloher Verlagshaus.