Študija vsebuje nove podatke o stavbni zgodovini cerkve sv. Miklavža na Godešiču in novo ikonografsko analizo poslikave na njeni zahodni fasadi. Cerkev je bila najbrž zgrajena v 12. ali 13. ...stoletju, prezbiterij pa na začetku 16. stoletja. Fasado je neznani furlanski slikar poslikal konec 14. stoletja, prezbiterij pa Jernej iz Loke pred letom 1531. V dosedanjih raziskavah o poslikavi fasade so bili ohranjeni prizori interpretirani kot razširjena Poslednja sodba. France Stele je nad vhodom v cerkev prepoznal osrednjo skupino Poslednje sodbe, nad njo upodobitev nebes s figuro Boga Očeta ali Abrahama, desno pa še prizor Kolo sreče. Alenka Vodnik je glavni vir za poslikavo iskala v apokrifni Pavlovi apokalipsi, pri čemer naj bi prizor s kolesom predstavljal Peklensko kolo. Ponovni pregled je pokazal drugačno zasnovo: nad Poslednjo sodbo je bilo Marijino kronanje, na desni je bil prizor s sv. Katarino Aleksandrijsko, na levi pa prizor s sv. Nikolajem.
Članek se ukvarja z likovnim prispevkom slovenske slikarke Ivane Kobilce v sarajevski semeniški cerkvi sv. Cirila in Metoda. Poslikava dela cerkve je bila med prvimi naročili, ki jih je umetnica ...pridobila v Sarajevu, ter po obsegu tudi njeno največje delo. Umetnica je poslikala del kupole, severni steni obeh krakov transepta in štiri tonde, dva na pevskem koru ter dva na stranskih emporah. Za freske, ki združujejo jezuitsko in ekumensko ikonografijo, je ikonografski program sestavil prvi sarajevski nadškof dr. Josip Stadler, freske pa so priča njegovih neuresničenih cerkveno-političnih ambicij po združitvi vzhodne in zahodne Cerkve.
Blood and Milk in Medieval ImageryThe wall painting Plague Image (also named the Image of Scourge, Mater omnium, The Virgin of Mercy, Our Lady of Protection, Mary the Mediatrix, Double Intercession, ...Combined Intercession, Our Lady’s Intercession etc.) in the Church of St. Primus in #rna near Kamnik in Slovenia, executed in 1504, at the end of the Middle Ages and at the dawn of the Renaissance in Central Europe, reflects well the passage between the two worlds of imagination and their visual representation. The triangular composition – with God the Father, the universal entity, at its apex, and lower with Christ exposing his wounds (Man of Sorrows, Imago pietatis) on the left, and Virgin Mary on the right, with her bosom bare – determines the believer’s perception. The scene combines the notions of birth, symbolized by the charity of Mary offering her milk, and death, symbolized by the cruelty of blood shed by Christ and the menacing sword of God the Father. At the time of their realization, the figures of Christ and Mary were meant to be spiritual, imaging the mysteries of the Eucharist and the Incarnation. The present text examines the question as to what extent the believers of the past connected, in their imagination, Christ’s nakedness and Mary’s bosom with parts of the body of a common human. The masked eroticism of the two figures put a stamp on this suggestive image which in the course of history provoced various reactions...
Provider: - Institution: - Data provided by Europeana Collections- Prizor zime s Celjskega stropa v osrednji dvorani Stare grofije (Pokrajinski muzej Celje).- All metadata published by Europeana are ...available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
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