DOI Heft:
Introduction
DOI Artikel:Mádl, Martin: "Iconomysticism" of Jacob Masen and decoration of pilgrim church at Holy Hill near Olomoue
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.51716#0011
In his Book Spéculum ïmaginum Veritatis Occultae,
Masen offers the conception of the “iconomystic
art” (ars iconomystica), based on rhetoric, and of ‘-‘figu-
rative image” (imago figur ata), which for him means a
kind of symbolic or metaphoric image with an an-
conventional, esoteric meaning. Masen distinguishes
between imago propna, a proper, descriptive image,
and imago translata mfigurata, which offers a hidden,
translated meaning. The proper, accurate imagé is the
work of painters, while the images with translated
meaning are the works of poets. Imago figurâta\s more
important and clearer for an understanding of the
World, than the text. A word impacts only on sight
or hearing, while the image stimulâtes ail our senses,
including taste (!)?Languages differ, while the image
is universal, and speaks to the deaf and dumb, to
those, who are present or not present. Unlike spoken
or written texts, the image intermediates an idea im-
mediately and directly.3
Symbolic art can express qualifies and meanings
of spiritual things - not just one quality or meaning,
but many different qualifies and meanings. A sym-
bolic image is like the language, through which God
speaks to us in the Holy Scriptures.4 As the Apostle
Paul shows in his epistles, the magnitude and might
Bedeutungsforschung 18]. Frankfurt am Main - Bern —New
York 1986, pp. 461-545; MERTZ, J. J. - MURPHY, J. P.
— IJSEWIJN, J. (edd.): Jesuit Eatin Poets of the 17th and 18th
Centuries. An Anthology of Neo-Lation Poets. Wauconda, IL 1989,
pp. 153-163; HUNDEMER 1997, (see note 1), pp. 140-144;
VUILLEUMIER LAURENS, F.: Ea Raison des figures symbo-
liques à la Renaissance et à l’âge classique: étude sur les fondements
philosophiques, théologiques et rhétoriques de l’image. Paris 2000, pp.
249-266; DALY, P. M. — DIMLER, R. (edd.): Corpus Eibrorum
Emblematicum. The Jesuit Sériés IV. Montreal 2004, pp. 56-63;
DIMLER, G. R.: The Jesuit Emblem. Bibliography of Secondary
làterature with Select Commentary and Descriptions. New York
2005, pp. 170-176; RAYBOULD, R.: An Introduction to the
Symbolic Eiterature of the Renaissance. Bloomington, IN 2006,
pp. 296-317; DIMLER, G. R.: Jakob Masen’s Imago Figurata:
From Theory to Practice. In: DIMLER, G. R.: Studies in the
Jesuit Emblem [=AMS Studies in the Emblem 18], New York
2007, pp. 96-112; DIMLER, G. R.: Jakob Masen’s Critique of
the Imago Primi Saeculi. In: Ibidem, pp. 126-143; GRUHL,
R.: Topik und Argutia bei Jacob Masen. In: Wissensformen
(Sechster Internationaler Barocksommerkurs Stiftung Bi-
bliothek Werner Oechslin, Einsiedeln). Zürich 2008, pp.
138-145; MADL, M.: Svatý Kopeček u Olomouce. Poutní
kostel Navštívení Panny Marie. In: MÁDL, M. (ed.): Tencalla
II. Praha 2013, pp. 193-371 (226-234).
sLVSTRATVM.
71.
IMAGINVM VERITATIS
o c e VLTÆ,
fi>^^.xbibens
EMBLEUATA,
SŸMB0 x
HlERÓQLfPHlCA, Æ
O M3Í A T E R I ijsM)
_Sfnrietote, /
OEMPLIS>ř!flvE A^lRÆC E^TJ
ANNO
* Ir Romanus' orbis
Auťhorc
JCP. Id-WSP M A SfrN,
cotoNiÆ vbiorvM,
Sumptibuj 1OANNIS ANTONII KINÇHÏI.
Cum Prius legio S. C.M. Generali (fiSfucM.
Fig. 1. Title page of the book by Jacob Masen, Spéculum ïmaginum
Veritatis Occultae, Cologne in 1650
3 MASEN, J.: Spéculum ïmaginum Veritatis Occultae, exhibent Sym-
bola, Emblemata, Hierogfiphica, enigmata, omni, tamMateriae, quam
formám varietate, exemplis simul. acpraeceptisillustratum... Coloniae
1650, pp. 1-6, and „Index doctrinae totius iconomysticae“, s.
p. Cf. also BAUER 1986, (see note 2), pp. 461-462; DIMLER
2007JakobMasen’sImago Figurata (see note 2), p. 105; MADL
2013, p. 229.
4 „Unde in Sacra Scriptura tam frequens symbolorum usus,
ut a sensibus remota, cum per se nequeant, per rem aliquam
corpoream sibi utcunque similem, perque sensus nostros ani-
mum cognitionemque subeant, quod pluribus infra exemplis
intelliges, cum usitata sacrarum literarum symbola exponam.“
Cit. MASEN 1650, (see note 3), p. 22.
5
Masen offers the conception of the “iconomystic
art” (ars iconomystica), based on rhetoric, and of ‘-‘figu-
rative image” (imago figur ata), which for him means a
kind of symbolic or metaphoric image with an an-
conventional, esoteric meaning. Masen distinguishes
between imago propna, a proper, descriptive image,
and imago translata mfigurata, which offers a hidden,
translated meaning. The proper, accurate imagé is the
work of painters, while the images with translated
meaning are the works of poets. Imago figurâta\s more
important and clearer for an understanding of the
World, than the text. A word impacts only on sight
or hearing, while the image stimulâtes ail our senses,
including taste (!)?Languages differ, while the image
is universal, and speaks to the deaf and dumb, to
those, who are present or not present. Unlike spoken
or written texts, the image intermediates an idea im-
mediately and directly.3
Symbolic art can express qualifies and meanings
of spiritual things - not just one quality or meaning,
but many different qualifies and meanings. A sym-
bolic image is like the language, through which God
speaks to us in the Holy Scriptures.4 As the Apostle
Paul shows in his epistles, the magnitude and might
Bedeutungsforschung 18]. Frankfurt am Main - Bern —New
York 1986, pp. 461-545; MERTZ, J. J. - MURPHY, J. P.
— IJSEWIJN, J. (edd.): Jesuit Eatin Poets of the 17th and 18th
Centuries. An Anthology of Neo-Lation Poets. Wauconda, IL 1989,
pp. 153-163; HUNDEMER 1997, (see note 1), pp. 140-144;
VUILLEUMIER LAURENS, F.: Ea Raison des figures symbo-
liques à la Renaissance et à l’âge classique: étude sur les fondements
philosophiques, théologiques et rhétoriques de l’image. Paris 2000, pp.
249-266; DALY, P. M. — DIMLER, R. (edd.): Corpus Eibrorum
Emblematicum. The Jesuit Sériés IV. Montreal 2004, pp. 56-63;
DIMLER, G. R.: The Jesuit Emblem. Bibliography of Secondary
làterature with Select Commentary and Descriptions. New York
2005, pp. 170-176; RAYBOULD, R.: An Introduction to the
Symbolic Eiterature of the Renaissance. Bloomington, IN 2006,
pp. 296-317; DIMLER, G. R.: Jakob Masen’s Imago Figurata:
From Theory to Practice. In: DIMLER, G. R.: Studies in the
Jesuit Emblem [=AMS Studies in the Emblem 18], New York
2007, pp. 96-112; DIMLER, G. R.: Jakob Masen’s Critique of
the Imago Primi Saeculi. In: Ibidem, pp. 126-143; GRUHL,
R.: Topik und Argutia bei Jacob Masen. In: Wissensformen
(Sechster Internationaler Barocksommerkurs Stiftung Bi-
bliothek Werner Oechslin, Einsiedeln). Zürich 2008, pp.
138-145; MADL, M.: Svatý Kopeček u Olomouce. Poutní
kostel Navštívení Panny Marie. In: MÁDL, M. (ed.): Tencalla
II. Praha 2013, pp. 193-371 (226-234).
sLVSTRATVM.
71.
IMAGINVM VERITATIS
o c e VLTÆ,
fi>^^.xbibens
EMBLEUATA,
SŸMB0 x
HlERÓQLfPHlCA, Æ
O M3Í A T E R I ijsM)
_Sfnrietote, /
OEMPLIS>ř!flvE A^lRÆC E^TJ
ANNO
* Ir Romanus' orbis
Auťhorc
JCP. Id-WSP M A SfrN,
cotoNiÆ vbiorvM,
Sumptibuj 1OANNIS ANTONII KINÇHÏI.
Cum Prius legio S. C.M. Generali (fiSfucM.
Fig. 1. Title page of the book by Jacob Masen, Spéculum ïmaginum
Veritatis Occultae, Cologne in 1650
3 MASEN, J.: Spéculum ïmaginum Veritatis Occultae, exhibent Sym-
bola, Emblemata, Hierogfiphica, enigmata, omni, tamMateriae, quam
formám varietate, exemplis simul. acpraeceptisillustratum... Coloniae
1650, pp. 1-6, and „Index doctrinae totius iconomysticae“, s.
p. Cf. also BAUER 1986, (see note 2), pp. 461-462; DIMLER
2007JakobMasen’sImago Figurata (see note 2), p. 105; MADL
2013, p. 229.
4 „Unde in Sacra Scriptura tam frequens symbolorum usus,
ut a sensibus remota, cum per se nequeant, per rem aliquam
corpoream sibi utcunque similem, perque sensus nostros ani-
mum cognitionemque subeant, quod pluribus infra exemplis
intelliges, cum usitata sacrarum literarum symbola exponam.“
Cit. MASEN 1650, (see note 3), p. 22.
5