Diskrepance mezi obrazem a textem ve středověkém křesťanském umění : flexibilita náboženské literatury

This article deals with the relation between medieval image and text and it is focused especially on the cases of their mutual disagreement. It is based on the analysis of illuminated manuscripts, where both components are usually together, as well as of murals and panel paintings, where the connection with text is indirect. There are two main types of discrepancies: intended, which represent a certain meaning, and unconscious, which were not understood this way in the time of their creation. The thesis deals paticularly with the second case, which is explained as a result of the different conception of continuity in the Middle Ages. It is associated with the notion of visual art as a special kind of interpretation of the text, which refl ects the relationship between its author and his intended audience. The final part of the thesis attempts a critique of the theory of Rudolf Berliner.This article deals with the relation between medieval image and text and it is focused especially on the cases of their mutual disagreement. It is based on the analysis of illuminated manuscripts, where both components are usually together, as well as of murals and panel paintings, where the connection with text is indirect. There are two main types of discrepancies: intended, which represent a certain meaning, and unconscious, which were not understood this way in the time of their creation. The thesis deals paticularly with the second case, which is explained as a result of the different conception of continuity in the Middle Ages. It is associated with the notion of visual art as a special kind of interpretation of the text, which refl ects the relationship between its author and his intended audience. The final part of the thesis attempts a critique of the theory of Rudolf Berliner