Reviewed by:

• Images of Discord: Poetics and Politics of the Sacred Image in Fifteenth-Century Spain by Felipe Pereda, and: Crime and Illusion: The Art of Truth in the Spanish Golden Age by Felipe Pereda
• Adam Jasienski

LATE MEDIEVAL AND EARLY MODERN SPAIN was rife with religious tensions as it transformed from a multiconfessional society into Europe’s “most Catholic” monarchy. Felipe Pereda’s two books argue that the reverberations of that process affected the appearance and ontology of the idiosyncratic image types produced across the Iberian Peninsula. Images of Discord was published in Spanish in 2007, ten years before the Spanish original of Crime and Illusion, published in 2017 (both with Marcial Pons). Images, divided into three parts, deals primarily with the fifteenth and early sixteenth centuries; Crime with the sixteenth and seventeenth, across eight [End Page 169] chapters and an afterword. Each stands on its own, but many of the major themes explored in the first recur in, or inform, the second.

In Images, Pereda describes how the rulers and institutions of late medieval Spain came to grips with the complexities of managing a society composed of Christians, Jews, Muslims, and recent converts to Christianity from the latter two groups. Because Islam and Judaism were, in general, aniconic (either explicitly forbidding or discouraging figural representation in religious contexts), Pereda’s focus on images—which mediated relationships between different faith communities, the establishment, and God—brings those complexities into particular relief. However, Western Christianity had not yet articulated the kind of definitive doctrine regarding religious imagery developed in Byzantium following the earlier iconoclastic upheavals there. Ambiguities, misconceptions, and conflicting interpretations were therefore rampant.

Against this backdrop, Pereda dedicates part 1 of Images (“Justifying Images”) to typologies of religious imagery: devotional, didactic, and cultic, the latter often miraculous. Pereda notes that, in practice, any attempt to organize images along such clear-cut lines is impossible, revealing his sensitivity to discordances between official ecclesiastical proscriptions and how images functioned in practice. Furthermore, the Spanish Church did not, in actuality, present a unified front on these issues: certain theologians believed that images should exclusively serve didactic functions, while others saw in them a potent “sacramental” power (51). This approach posited that sacred images possessed something of the divine, akin to the Eucharist, which, through transubstantiation, actually became the body of Christ. Pereda convincingly argues that these discrepancies were exacerbated by the ethno-religious conflict that plagued the region, granting prominence, both here and in Crime, to the historical prejudices that catalyzed much of the transformation underway in the period.

In part 2 of Images (“The Byzantinization of Images”), Pereda examines the Sevillian cult of the Virgin of La Antigua, using it to introduce the notion of the “Byzantinization” of religious imagery (74). He shows that Eastern icons—the scale of which was well suited to private worship and which claimed to be authoritative images of the holy figures they depicted— impacted the Iberian Peninsula’s religious and visual culture to a greater degree than previously understood. This part explores the purposeful stylistic anachronism of numerous religious images and the appearance in Spain of iconographies such as the Hodegetria (a type of representation of the Virgin and Child), as well as of worship typically associated with the Eastern Church. In doing so, it challenges a teleological progression from premodern image to modern, self-conscious art object and the untenable narrative of early modern secularization it relies on (exemplified by Hans Belting’s Likeness and Presence: A History of the Image Before the Era of Art, U of Chicago P, 1997).

In part 3, “The Image Industry,” Pereda focuses on the recently capitulated city of Granada in the final decade of the fifteenth century, whose Muslim population initially received wide-reaching concessions, including religious freedoms. Within just a few years, however, many of these rights were impinged upon, resulting in forced baptisms and the...

审核人：

• 不和谐的图像：费利佩·佩雷达（Felipe Pereda）的十五世纪西班牙神圣图像的诗学和政治，以及：费利佩·佩雷达（Felipe Pereda）的犯罪与幻觉：西班牙黄金时代的真理艺术
• 亚当·贾森斯基（Adam Jasienski）

中世纪晚期和近代西班牙充满宗教紧张气氛，因为它从一个多conf悔的社会转变为欧洲的“最天主教”君主制。费利佩·佩雷达（Felipe Pereda）的两本书认为，该过程的混响影响了整个伊比利亚半岛产生的特异图像类型的外观和本体。Discord的图片于2007年以西班牙语出版，比《犯罪与幻觉》的西班牙原著（于2017年出版）都早了十年（均与Marcial Pons一起出版）。图像分为三个部分，主要涉及15世纪和16世纪初。第十六和第十七，共八个犯罪[完页169]章节和后记。每个主题都有自己的立场，但是第一个主题探讨的许多主要主题会在第二个主题中重复出现或提供参考。

在图像中，佩雷达（Pereda）描述了中世纪晚期西班牙的统治者和机构如何应对由基督徒，犹太人，穆斯林组成的社会的管理的复杂性，以及最近从后两个群体转变为基督教的社会。因为伊斯兰教和犹太教一般都是反讽的（在宗教背景下明确禁止或劝阻人物形象的代表），所以Pereda专注于图像（介导了不同信仰团体，机构和上帝之间的关系）的那些复杂性得到了特别的缓解。然而，西方基督教尚未阐明关于拜占庭早期宗教反叛性动荡之后在拜占庭发展起来的宗教意象的确定性学说。因此，歧义，误解和矛盾的解释十分猖ramp。

在此背景下，Pereda致力于“图片”的第1部分（“合理化图像”）到宗教图像的类型学：虔诚的，说教的和邪教的，后者常常是奇迹。佩雷达（Pereda）指出，实际上，任何企图按照这种清晰的线条组织图像的尝试都是不可能的，这表明他对官方教会禁令与图像在实践中如何运作之间的矛盾不敏感。此外，西班牙教会实际上在这些问题上并没有表现出统一的立场：某些神学家认为图像应仅具有说教功能，而另一些神学家则认为图像具有强大的“圣礼”能力（51）。这种方法假定，神圣的图像具有神圣的东西，类似于圣体圣事，通过圣化，圣体实际上成为了基督的身体。犯罪，这是历史上的偏见，促使人们在此期间进行了许多变革。

在图片的第2部分中（“图像的拜占庭化”），佩雷达（Pereda）研究了拉安提瓜圣母的塞维利亚邪教，并用它介绍了宗教意象的“拜占庭化”概念（74）。他表明，东方的圣像（其规模非常适合私人朝拜，并声称是他们所描绘的圣人形象的权威图像）对伊比利亚半岛的宗教和视觉文化的影响程度超过了以前的理解。本部分探讨了许多宗教图像的有目的的过时风格，以及像Hodegetria（圣母和儿童的一种代表）这样的肖像画在西班牙的出现，以及通常与东方教堂相关的崇拜。在这种情况下，它挑战了从前现代图像到现代图像的目的论演进。相似性和存在：艺术时代之前的图像史，芝加哥大学，1997年）。

在第3部分“图像工业”中，Pereda着眼于15世纪最后十年中最近被人屈服的格拉纳达市，该市的穆斯林人口最初获得了广泛的让步，包括宗教自由。然而，在短短的几年内，其中许多权利受到了侵害，导致被迫洗礼和...