Art as Revelation: Visualisations of the Apocalypse
This contribution explores the concept of apocalyptic “unveiling” via four visualisations from the artistic history of the Book of Revelation. The concept of unveiling is one that runs through the TheoArtistry “Art as Revelation” project more widely and hence was an idea that merited further explora...
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| Vydáno v: | URI:https://journals.openedition.org/interfaces, |
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| Hlavní autor: | |
| Médium: | Article ou chapitre numérique |
| Jazyk: | Anglais |
| Vydáno: |
Interfaces
2026
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| On-line přístup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Shrnutí: | This contribution explores the concept of apocalyptic “unveiling” via four visualisations from the artistic history of the Book of Revelation. The concept of unveiling is one that runs through the TheoArtistry “Art as Revelation” project more widely and hence was an idea that merited further exploration. Rowland’s work on apocalyptic unveiling, whereby apocalyptic texts (and images) are seen as works that offer a new dimension on the present, as opposed to making predictions about the future, is used as touchstone of the contribution. Four representations of Revelation 12, which describes the conflict between the Woman Clothed with the Sun and the Dragon, are used to explore the extent to which visualisations of apocalyptic texts can mirror or further illuminate the concept of unveiling. The first image, from the 13th century, Trinity Apocalypse, while part of a larger manuscript, which marries text, commentary and image, when taken as a stand-alone visualisation, performs a more illustrative function. The other three representations, Botticelli’s Mystic Nativity, Blake’s The Great Red Dragon and the Woman Clothed with the Sun and Yolanda Lopez’s Virgen de Guadelupe series, all, in contrasting ways, juxtapose the biblical text with their own circumstances. |
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