Page - 14 - in JRFM - Journal Religion Film Media, Volume 07/01

14 | Erich Renhart www.jrfm.eu 2021, 7/1, 13–32 Introduction It is a wonderful task to deal with the materiality of religious books. Yet which books are to be considered “religious”? The range of book forms and genres can seem overwhelming. For the purposes of this article, I propose that bibli- cal books, liturgical books, prayer books and other devotional books fall into the category in question. When we look at Christian manuscripts – Eastern and Western – and at ancient and rare printed books, we observe a growing interest in the material and codicological aspects of our book heritage.1 In other words, a new em- phasis on the non-textual realities of books is emerging – at least for ancient books. This shift is particularly true for Manuscript Studies.2 However even nowadays, when we decide to edit a book, often in hard copy along with elec- tronic or digital versions, issues of materiality cannot be avoided. As has always been the case, a direct correlation exists between the quality of the used materials, the production techniques, and the external appear- ance of a book. Normally, we would not expect to find the finest inks, paper or parchment at the same time as less-skilled scribes or illuminators. Here, to- gether with the immediate material aspects we should consider correspond- ing and often costly issues such as sewing and binding techniques, layout (mise-en-page) and decoration. They too will condition our assessment – even unconsciously – as we encounter religious books. Based on my experience with and knowledge of historical books, this ar- ticle explores various aspects that cast light on the weight of the material character of religious books and their interpretation. The article will make evident that materially speaking, there is no single way of understanding our religious books, for multiple aspects precondition the fabrication of books in general and of religious books in particular. That is to say, materiality is inherently complex. This article examines the hypothesis that adequate expression of the most venerable content (e. g. God and God’s Word) requires the most precious ma- 1 Maniaci 2015, 69–88. 2 Zammit Lupi [forthcoming]: “This chapter is about ritual, reading and the senses. It discusses elements of the book that go beyond the reading of the text and its visual beauty. The velvety touch of parchment, the smell of leather bindings, the crisp sound of paper, the coldness and click of a metal clasp and the bulk and weight of heavy tomes are what make viewing a manuscript more than just any reading experience.” Only now is research perceiving historical books as a multisensory experience.