书名：The Lost Mirror: Jews and Conversos in Medieval Spain / 失落的镜子：中世纪西班牙的犹太人与改宗者
定价：368.0
ISBN：9788484806028
作者：Joan Molina Figueras
版次：1
出版时间：2024-02

内容提要：

书 名：The Lost Mirror: Jews and Conversos in Medieval Spain / 失落的镜子：中世纪西班牙的犹太人与改宗者

作 者：Joan Molina Figueras

出 版：Andrews McMeel Publishing ，2024

装 帧：精装，240页

语 种：英语

尺 寸：24.1*30.4 cm

 

 

我们创造的每一幅图像都是一面镜子，反映出一种看待世界的方式。我们以自己的心态和态度为视角，观察世界，审视自己与他人的关系。本展览通过精选的一系列作品，重现了一面中世纪的镜子，展示了1285年至1492年间，西班牙的基督徒是如何描绘犹太人和改宗者（皈依基督教的犹太人）的。在这一时期，图像在三个群体之间复杂的关系中扮演了关键角色。一方面，它们是基督徒和犹太人之间传播仪式和艺术模式的重要载体，并为来自两个社区的艺术家提供了合作的空间。另一方面——也是其阴暗面——它们助长了基督教社会中日益增长的反犹太主义情绪的传播。在这方面，对犹太人的视觉污名化是基督徒这面镜子的真实反映，体现了他们的信仰和焦虑，因此也成为了一种强有力的确认自身身份的手段。

 

在1391年大屠杀后，犹太人大规模皈依基督教，宗教图像成为了争议的焦点。它们被当作证据，用来证实新基督徒的真诚，或者相反，用来指控他们秘密信奉犹太教。这种对秘密信奉犹太教异端的无端猜疑的传播，是1478年西班牙宗教裁判所建立的根源。新机构深知图像的力量，因此大量利用它们，要么设计具有震撼力的场景，要么定义视觉识别改宗者的方法。本展览中的图像提醒我们，虽然差异确实存在，但“他者”的概念是一种建构。

 

Every image we create is a mirror that reflects a way of seeing. We look at the world and at others in relation to ourselves, through our own mentality and attitude. Using a broad selection of works, this exhibition recreates a medieval mirror that shows how Jews and conversos (converts to Christianity) were portrayed by Christians in Spain from 1285 to 1492. Images played a key role in the complex relationship between all three groups during this period. On the one hand, they were an important vehicle for the transmission of rites and artistic models between Christians and Jews and provided a space for collaboration between artists from both communities. On the other – the grim flipside – they helped spread the growing anti-Judaism embedded in Christian society. In this respect, the visual stigmatisation of the Jews was a faithful reflection of the Christians’ mirror, of their beliefs and anxieties, and accordingly a powerful means of asserting their identity.

 

Following the mass conversion of Jews to Christianity resulting from the pogroms of 1391, cult images became the centrepiece of the controversy. They were taken as evidence for confirming New Christians’ sincerity or, on the contrary, for accusing them of Judaising. The spread of these unfounded suspicions of Judaising heresy lay at the root of the establishment of the Spanish Inquisition in 1478. Aware of the power of images, the new institution used them intensively, either to design powerful settings or to define methods for visually identifying conversos. The images featured in this exhibition remind us that while differences exist, the idea of otherness is a construct.