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Scholasticism: Theology & Art in the High Middle Ages.

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Presentation on theme: "Scholasticism: Theology & Art in the High Middle Ages."— Presentation transcript:

1 Scholasticism: Theology & Art in the High Middle Ages

2 I.Foundations A. Dialectical Method B. Goal: Reconciliation of Reason & Revelation C. Aristotelian Undergirding

3 Reconciling Reason and Revelation 4 Medieval Approaches: 1) Anselm: fides quarens intellectum (faith seeking understanding) 2) Abelard: reason helping faith, i.e. need to understand in order to believe. (Introduced methodological tool of doubt.) 3) Bernard of Clairvaux: At height of theological endeavor, faith extinguishes or silences reason. (Highly experiential) 4) Aquinas: Faith perfecting reason

4 Scholasticism: Theology & Art in the High Middle Ages I.Foundations A. Dialectical Method B. Goal: Reconciliation of Reason & Revelation C. Aristotelian Undergirding II. Thomas Aquinas & the Summa Theologica A. Approach & Epistemology B. Critics C. Influence

5 Scholasticism: Theology & Art in the High Middle Ages I.Foundations II. Thomas Aquinas & the Summa Theologica III. Gothic Architecture A. Origins: Saint-Denis B. Main Features C. Development & Spread of Gothic Style D. Motivation

6 Scholasticism: Theology & Art in the High Middle Ages I.Foundations II. Thomas Aquinas & the Summa Theologica III. Gothic Architecture IV. Gothic Art & the Schools A. Chronological Correlation B. Artist’s Debt to the Schools C. Meaning in Gothic Art & Architecture D. Conclusion: Gothic Art as Summae

7 Scholasticism: Theology & Art in the High Middle Ages I.Foundations A. Dialectical Method B. Goal: Reconciliation of Reason & Revelation C. Aristotelian Undergirding II. Thomas Aquinas & the Summa Theologica A. Approach & Epistemology B. Critics C. Influence III. Gothic Architecture A. Origins: Saint-Denis B. Main Features C. Development & Spread of Gothic Style D. Motivation IV. Gothic Art & the Schools A. Chronological Correlation B. Artist’s Debt to the Schools C. Meaning in Gothic Art & Architecture D. Conclusion: Gothic Art as Summae

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