Anagogical Function of Images in Cusanus’s Thought: The Case of Veraicon
Agnieszka Kijewska
Religions April 7, 2026 DOI: 10.3390/rel17040457 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Historical analysis Peer reviewed |
|---|---|
| Key points | Argues that Nicholas of Cusa's treatise On the Vision of God and the painted "All-seeing Face" were designed as aids for a contemplative experiment for Benedictine monks at Tegernsee Abbey, intended to guide them from perceiving the image through meditation and prayer to contemplation of God. The author contends that both served an anagogical function and outlines Cusanus's mystical ascent, use of paradox, conception of God as the Infinity, and God's seeing as the foundation of all things. |
Abstract
The paper presents Nicholas of Cusa’s position in the debate on mystical theology, which had a place around the middle of the 15th century in monastic environments. His contribution to that debate was presented in the form of the treatise entitled On the Vision of God, complemented by a painted representation of the “All-seeing Face”. Both the treatise and the painting were designed to be aids in an experiment projected by Cusanus for his benedictine friends of Tegernsee Abbey, to help them in their progress towards mystical contemplation. The intention was to show them a way to lift their thought from the perception of the image, through meditation and prayer, to the contemplation of God. Thus, both the icon and his treatise were intended to fulfil an anagogical function for the users in inspiring them start on a journey of returning to God and teaching them how to effect that return. Besides giving an account of the experiment projected by Cusanus, the most important elements of his fascinating system are delineated, such as the way of mystical ascent, his use of paradox, his conception of God as the Infinity, and the conception of God’s seeing as the foundation of the existence of all things.