Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/31189
Type of publication: Straipsnis kitose duomenų bazėse / Article in other databases (S4)
Field of Science: Teologija / Theology (H002)
Author(s): Šurkutė, Indrė
Title: Nukryžiuotojo Jėzaus ikonografija V–XVIII a. Vakarų Europoje
Other Title: The iconography of crucified Jesus in 5th–18th century Western Europe
Is part of: Soter : religijos mokslo žurnalas. Kaunas : Vytauto Didžiojo universitetas, 52 (2014)
Extent: p. 65-88
Date: 2014
Note: e-ISSN 2335-8785
Keywords: Nukryžiuotasis;Kryžius;Ikonografija;Vėlyvoji antika;Ankstyvoji krikščioniškoji dailė;Viduramžiai;Renesansas;Barokas;Crucifixion;Cross;Iconography;Late Antiquity;Early Christian art;Middle ages;Renaissance;Baroque
Abstract: Straipsnyje nagrinėjama Nukryžiuotojo ikonografijos raida nuo seniausių išlikusių atvaizdų iki baroko pabaigos. Ant kryžiaus prikaltas Išganytojas dailės kūriniuose, priklausomai nuo paskirties, intencijų ir epochos stiliaus, krikščionių vaizduotas kaip Kunigas ir Karalius, didvyris ir nugalėtojas arba kaip apleistas, kenčiantis ir mirštantis Atpirkėjas, slegiamas viso pasaulio nuodėmių. Tikintysis šiuose atvaizduose gali įskaityti svarbiausias Bažnyčios doktrinos tiesas ir Senojo Testamento pranašysčių išsipildymą per Kristaus Kryžių
The Crucifixion iconography is constructed from various textual and visual sources of different ages. The most important were those which explained the fulfilment of the Scriptures. The rise of the Crucifixion iconography dates back to the beginning of the 3rd century. Although a small amount of the surviving ex-amples contain certain differences, the pieces of art from 6th–8th centuries established and widely spread the iconographic canon. During the first millennium of the Christianity artists avoided displaying excessively realistic signs of death in the body of the crucified Christ. They rather emphasized the Saviour’s triumph over death and represented Him as Priest, King and Judge. Even in the tradition of Eastern Christians dead Christ on the cross looks as if He is calmly sleeping, but not suffering. Only in the 13th century the image of the Crucifixion was overfilled with naturalistic signs of suffering. Such images invited believers to repent and unite their sufferings with those of the Redeemer. Although this tradition was continuing over the centuries, the Renaissance painters and sculptors found more interest in visualizing the divine beauty of the Son of God that death and suffering were not able to destroy. Baroque masters also enjoyed the idealized body of the Saviour, placing more emphasis on emotional suffering and the dramatic mood of the event. Moreover, in the images over the centuries the crucified Christ can appear in the midst of crowd of earthly, heavenly or even allegorical characters. Most common representations, however, include the Mother of God and John the Evangelist. No matter what type of iconographic composition is used, the image of the Crucifixion always encompasses most important Christian doctrines: the redemption of sins, the Eucharist mystery and the establishment of the Church
Internet: https://eltalpykla.vdu.lt/1/31189
https://www.vdu.lt/cris/bitstream/20.500.12259/31189/1/ISSN2335-8785_2014_N_52_80.PG_65-88.pdf
https://hdl.handle.net/20.500.12259/31189
https://doi.org/10.7220/2335-8785.52(80).5
Affiliation(s): Menų fakultetas
Vytauto Didžiojo universitetas
Appears in Collections:SOTER: religijos mokslo žurnalas / SOTER: Journal of Religious Science 2014, nr. 52(80)
Universiteto mokslo publikacijos / University Research Publications

Files in This Item:
marc.xml10.95 kBXMLView/Open

MARC21 XML metadata

Show full item record

Page view(s)

46
checked on Aug 17, 2019

Download(s)

38
checked on Aug 17, 2019

Google ScholarTM

Check

Altmetric


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.