Download Epic Of Divinity Light [REPACK]

I have always preferred The Odyssey to The Iliad. Most of it comes down to narrative perspective. The Iliad reads like a war history, with an all-seeing narrator describing the action from thirty thousand feet above the fighting, with heroes and villains on each side of the battle. Homer doesn\u2019t take a position on who is right or wrong, though the actors are clearly cast in one light or the other; it\u2019s clear he knows how to write a story. The Odyssey gets into the minds of the actors, and tells the story from their point of view. It also establishes a definite protagonist and lays out the challenges in a sequential order. It is, well, an odyssey.

James' title coupled with the generous number of color illustrations in her text led me to assume that she would survey Byzantine art in more traditional terms of light and color. Instead, the book pursues the perceptual repercussions of color in Byzantine art and is based on James' dissertation, "Colour Perception in Byzantium" (University of London, 1989). In the first chapter, James describes her goals:

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Chapter 2 follows a few pages later and initiates an almost entirely tangential discussion concerning technical issues related to the materials of color. While a number of the points made here are of interest, the chapter as a whole (with the exception of the alchemy discussion) constitutes a distraction to what is otherwise a thoughtful and original approach to the perception of color in Byzantium. In my opinion, most of chapter 2 would have been more happily housed in an appendix. I would encourage readers to skip it entirely in their initial reading of James' text for chapter 3 clearly flows directly from chapter 1. Chapter 3 returns to the author's main concern, the Byzantines' perception of color. This chapter describes the Classical perception of color and begins with a glossary of fifteen Greek color words derived from Aristotle's and Plato's compilations of the major colors. James notes that the definitions in her glossary are imprecise in referring to single specific hues. The emphasis instead is placed on "contrast, especially between light and dark..." (p. 51). The importance of value or brightness is traced to both Plato's and Aristotle's theories of color and vision. James notes that:

colour is conceived of as a combination of dark and light elements; a group of four primaries is proposed; colour is not defined extensively in terms of its hue, but with regard to both brilliance and saturation. (pp. 79-80)

James' survey of Byzantine literature points out how rarely color words actually occur regardless of the period or literary genre. "All Byzantine authors. . . use more words reflecting brilliance and qualities of light than they do 'colour' words: this suggests a perceptual difference between 'them' and 'us'. (p. 79)

The second half of the chapter is devoted to a fine case study in which she compares and contrasts the perception of color in Michael Psellos' Chronographia of the eleventh century with that revealed in the epic poem, Digenes Akrites. She concludes that while there are some differences in their color vocabularly (the actual words used), that they are surprisingly similar in their perception of color. Both "use colour sparingly, and both emphasize value above hue. In both texts, this is achieved through detailing qualities of light- bearing, of glitter, gleam, and reflection" (p. 90).

One major departure from the Classical use of color is observed. In the Classical world women are fair and men are dark. In Psellos' text and the epic poem, both virtuous men and women are white, and outsiders (especially Ethiopians) are dark, suggesting a new standard of beauty in the Byzantine worldo (pp. 82 and 87).

Chapter 5 delves further into the role of color in Byzantium, particularly with regard to color symbolism, by studying depictions of the rainbow. Two types of rainbows are isolated. Naturalistic rainbows are typically found in scenes of Noah's ark and appear to represent God's covenant. Non-naturalistic rainbows are more likely to be found in representations of the Ascension, the Last Judgment, and Christ in Glory. Here the rainbow symbolizes a "manifestation of divine light reflecting the glory of Christ; the rainbows are seen particularly in holy visions..." (p. 99). Support for James' conclusions are found in sources ranging from the Bible to Pseudo-Dionysius, John Chrysostom, John of Damascus, and others. James concludes:

Where the rainbow is represented in a non-naturalistic way, the colours employed are significant of light and divinity. However, it is clear that context -- in this case the rainbow as a sign of divine glory -- is more important than the hue in defining the meaning. (p. 108)

Chapter 6 analyzes two rhetorical accounts of the no longer extant mosaics of the Church of the Holy Apostles in Constantinople. One text is the tenth-century poem by Constantine Rhodios; the other dates from the late twelfth century and was written by Nicholas Mesarites. James reveals that the color vocabulary of both is basically Classical in that it is not so much hue that is significant, but rather relative lightness or darkness. The relative importance of context is underlined again here. "There is," she writes, "no organized colour 'symbolism'; rather the 'meaning' of the colour depends above all on the context in which it is used" (p. 123). This section also includes a discussion of ekphrasis and its impact on color vocabulary (pp. 117f). Ultimately, "Imagination was perceived by the Greeks as a form of seeing, and the ekphrasis was an obvious vehicle for its display. Colour is used in these pieces to convey this idea, as a means of enabling the imagination to perceive the object described, as a crucial element in turning listeners into spectators" (p. 123).

As an art historian, however, I find myself in the unlikely position of expressing some reservations about the rather luxurious packaging of James' text. Generally, scholarly art history texts are produced on meager budgets that result in a limited number of black and white illustrations. But, in this case, the important role of brilliance and gleam identified in James' analysis of the Byzantines' perception of color seems to have affected the overall design of this book, a product of Oxford University Press' prestigious Clarendon Press. I am referring here to the remarkable inclusion of 64 color plates, in a text, which as we have seen, is far more interested in literary descriptions of Byzantine art than in the actual analysis of color and light in Byzantine artistic monuments per se. These color plates, while always welcome, are not fundamental to most of James' text. This can be demonstrated by the following statistics. The first forty-two color plates are only mentioned in the first twelve pages of text; in fact, the first eleven plates are only mentioned on page 1 of James' text. Moreover, while plates 43 - 57 are discussed on pp. 19- 34, there are no references to any color plates from pp. 35-91. That is, there are a total of seven plate references from p. 35 through the end of the text on p. 140. From this the reader can gather some notion of the relative importance of these color plates to James' discussion.

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In some of their aspects, Varuna is lord of the cosmic rhythm of the sun and other celestial spheres, while Mitra brings forth the light at dawn, which was covered by Varuna the previous evening. Mitra is also independently identified as being force by which the course of the sun is regulated (ta); Savitr (RV 1.35) is identified with Mitra because of those regulations, and Vishnu (RV 1.154) takes his three steps by those regulations.[1] Agni is kindled before dawn to produce Mitra, and when kindled is Mitra.[1]

To recapitulate: in Zoroastrianism, spirit and nature are in immediateidentity with one another (as the Light). In Hindu art, thereis an immediate difference between the spiritual (the divine)and nature, but the spiritual remains abstract and indeterminate initself and so can be brought to mind only through images of naturalthings (unnaturally distorted). In Egyptian art, the spiritual is againdifferent from the realm of the merely natural and sensuous.In contrast to the indeterminate divinity of the Hindus, however,Egyptian spirituality (in the form of the gods and of the human soul)is fixed, separate and determinate in itself. The images of Egyptianart thus point symbolically to a realm of spirit that remainshidden from direct view. The spirit to which such symbolic imagespoint, however, lacks genuine freedom and life and is often identifiedwith the realm of the dead.

Classical Theatre of Harlem presents "Waiting for Godot" directed by Christopher McElroen. In this electrifying spin on Samuel Beckett's classic "Waiting for Godot," The Classical Theatre of Harlem uses the agonizing wait for help after Katrina as the central metaphor. The artists feel they are living in a time of moral emergency much, as did Beckett himself. The project was conceived by New York artist Paul Chan, who is known for his unique way of bringing light onto dynamic situations in the current times. It was performed in early November 2007 for free in the Lower Ninth Ward and Gentilly of New Orleans. The words speak to every person in the audience. Tickets are $30.

National Theatre of London presents NT Live's "All's Well That Ends Well" - William Shakespeare's delightful comedy directed by Marianne Elliott. Clare Higgins as the Countess of Rossillion, George Rainsford as Bertram and Michelle Terry as Helena. Reserved seating. Pre-show interviews are broadcast. Tickets are $22 adults, $20 seniors, and $15 children/students. 17dc91bb1f