Pohybující se divák u vstupu do středověkého kostela
Source document: Convivium. 2019, vol. 6, iss. 1, pp. -125
ISSN2336-3452 (print)2336-808X (online)
License: Not specified license
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Imagery placed in transitional spaces is seen by mobile viewers. Throughout the Middle Ages, doors, portals, porches, and façades displayed images. This article considers the concept of the mobile viewer, issues of definition, application, and historiography with regard specifically to spaces of transition. A first part derives key aspects for consideration from an examination of the late-medieval door of the parish church at Irrsdorf, Austria. A second part identifies four approaches to (the) mobile viewer(s) in art historical scholarship, discussing methodological implications and highlighting problems with regard to historical viewing and the phenomenology of the door. Considering the mobile viewer as a category or concept means grappling with issues of anachronism, anti-relativism, identities, and bodies of historical viewers and viewing communities – and the position of the scholar. This makes it a both truly medieval and contemporary undertaking.