- Copyright Page
- List of Contributors
- The Archaeology of Early Christianity: The History, Methods, and State of a Field
- Archaeology of the Gospels
- New Testament Archaeology Beyond the Gospels
- The Catacombs
- Burials and Human Remains of the Eastern Mediterranean in Early Christian Context
- The Archaeology of Early Monastic Communities
- Baptisteries in Ancient Sites and Rites
- Baths, Christianity, and Bathing Culture in Late Antiquity
- The Art of the Catacombs
- Visual Rhetoric of Early Christian Reliquaries
- An <i>Anarchéologie</i> of Icons
- Spolia and the “Victory of Christianity”
- Early Christian Mosaics in Context
- Amulets and the Ritual Efficacy of Christian Symbols
- Christian Archaeology in Palestine: The Roman and Byzantine Periods
- The Church of the East Until the Eighth Century
- The Holy Island: An Archaeology of Early Christian Cyprus
- Asia Minor
- Community, Church, and Conversion in the Prefecture of Illyricum and the Cyclades
- The Early Christian Archaeology of the Balkans
- The Archaeology of Early Italian Churches in Context, 313–569 CE
- The Christianization of Gaul: Buildings and Territories
- Britain and Ireland, 100–700 CE
- Christian Landscapes in the Iberian Peninsula: The Archaeological Evidence (Fourth–Sixth Centuries)
- Incorporating Christian Communities in North Africa: Churches as Bodies of Communal History
- Archaeology of Early Christianity in Egypt
Abstract and Keywords
This chapter examines the development of a distinctive early Christian genre: the icon. It does so by taking a relatively unknown, but important, example of a devotional panel in a U.S. collection with a (now) anonymous warrior saint trampling a demon while on horseback. This icon permits a methodological rumination on the means by which we come to think we know the historical meaning of such an object: our art historical premises, our photographic and museological knowledge of objects, and our own assumption about what constitutes a real “subject” in the past and in the present. This chapter attempts a kind of archaeology, an examination of strata in the icon, but really an anarchéologie of the icon, by which archaeology is problematized, undermined, in order to reveal the ways in which our culture has produced its histories.
Glenn Peers, Professor of Art History, Syracuse University, Syracuse, New York, USA.
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