The writer examines how, in the secular iconography of the High and Late Middle Ages, we know who and what an image may represent if it is not recognizable as part of the established canon of religious iconography. He considers what ultimately shapes and reshapes over time the identity of visual signs derived directly or indirectly from textual compositions. Using examples of representations of the characters Marcolf and Aesop, he discusses the respective roles of the visual and verbal media in this process of continuous interaction between often volatile textual traditions and changing directions and fashion in art.
© 2001-2024 Fundación Dialnet · Todos los derechos reservados