The concept of visual process is introduced in order to recognize the importance of spatial, temporal, and social context for approaching the artifacts and their iconological content.ĭer Standort Koroinen (Korois auf Schwedisch) liegt am Fluss Aurajoki in SW Finnland, zirka 1,6 km von der mittelalterlichen Stadt Turku und ihrem Dom. Third, in order to tease the artifacts out of the church context towards the secular, the connections between the ecclesiastical and secular imagery and visual practices require further analysis. The second lies in the ways in which the liturgical equipment formed an effective whole, a signifying system in itself and together with the ecclesiastical practices. From this basis, three points of interest emerge: the first is the production and materiality of liturgical artifacts, their three-dimensionality and its relationship with the technologies of producing, distributing and copying other three- as well as two-dimensional images. The visual disseminates into the nonvisual, and this complex relationship with the semiotic, material as well as social, is crucial for approaching the artifactuality and visuality of the objects. Such a shift creates a tension between the traditional means of art historical inquiry, and the concerns of visual studies. While retaining the iconological method, the study of Finnish as well as Scandinavian medieval liturgical artifacts has moved towards the analysis of their wider visual context.

Salt cellar with lid