Visual Polemics in the Ninth-Century Byzantine Psalters: Iconophile Imagery in Three Ninth-Century Byzantine Psalters

Among the first works of art produced after Iconoclasm was defeated in 843, the Byzantine Marginal Psalters provide a rare glimpse into the world of scholarship and religious and political debate that occupied some of the leading intellectuals in Constantinople. The manuscripts are best known for their depictions of the heroes and villains of the Iconoclastic controversy: Iconoclasts whitewashing the icons of Christ, and Iconophiles triumphing over defeated Iconoclasts. But these psalters contain hundreds of marginal images - some literal, some typological - most of which have no apparent relationship to Iconoclasm. These have been the most difficult images to interpret. If not Iconophile polemics, what motivated the artists or their patrons in the choice of illustrations? The purpose of this book is to show that the marginal psalters are indeed polemical, but their stance is not simply anti-Iconoclastic. Image after image seems directed towards defining and defending the Orthodox position, not only on the question of images, but on most of the essential points of Orthodox Christian dogma. And the opponents being refuted are not just Iconoclasts, but Jews and Muslims as well. After Iconoclasm ended, those who had been the most avid defenders of the images now used these images to defend Orthodoxy and condemn its enemies. Among The First Works Of Art Produced After Iconoclasm Was Defeated In 843, Three Byzantine Marginal Psalters That Have Survived Provide A Rare Glimpse Into The World Of Scholarship And Religious And Political Debate That Occupied Some Of The Leading Intellectuals In Constantinople. The Manuscripts Are Best Known For Their Depictions Of The Heroes And Villains Of The Iconoclastic Controversy: Iconoclasts Whitewashing The Icons Of Christ, And Iconophiles Triumphing Over Defeated Iconoclasts. But These Psalters Also Contain Hundreds Of Marginal Images--some Literal, Some Typological--most Of Which Have No Apparent Relationship To Iconoclasm, And Which Have Resisted Interpretation. If Not Iconophile Polemics, What Motivated The Artists Or Their Patrons In The Choice Of Illustrations?--book Jacket. Through A Textual, As Well As Contextual, Analysis Of The Images And Relevant Psalter Passages, Kathleen Corrigan Demonstrates That The Marginal Psalters Are Indeed Polemical, But That Their Stance Is Not Simply Anti-iconoclastic. Image After Image Seems Directed Toward Defining And Defending The Orthodox Position, Not Only On The Question Of Images, But On Most Of The Essential Points Of Orthodox Christian Dogma. The Opponents Refuted Are Not Just Iconoclasts, But Jews And Muslims As Well. With The Demise Of Iconoclasm, The Most Avid Defenders Of The Images Now Used Them To Defend Orthodoxy And Condemn Its Enemies.--book Jacket. Kathleen Corrigan. Includes Bibliographical References (p. 209-222) And Indexes. The purpose of this book is to show that the Marginal Psalters belonging to the period after Iconoclasm was defeated in 843, are definitely polemical, but that their stance is not simply anti-Iconoclastic: image after image seems directed towards defining and defending the Orthodox position.