La présente étude se donne pour but de répondre aux questions que soulève l'oeuvre magistrale d'Auguste Rodin, La Porte de l'Enfer. Celle-ci puise dans les sources historiques et littéraires parmi ...lesquelles il faut mentionner, en premier lieu, la Divine Comédie de Dante. En réalité, en dehors des références que fournit le chantre florentin, l'oeuvre d'Auguste Rodin serait impensable. Rodin lui-même avait une prédilection pour les cathédrales, les édifices qui reconstruisent le sentiment de verticalité en recompensant le porte-à-faux. Celui-ci pris dans le sens analogique fournit une explication à la structure de La Porte, surtout lorsqu'on la compare à capolavoro di Ghiberti La Porta del Paradiso qui est censé servir de modèle à Rodin. La conclusion du présent article serait que La Porte de l'Enfer est impensable en dehors du contexte philosophique du Moyen-Age.
Abstract
The bronze doors of Lorenzo Ghiberti (1378–1455) on the east side of the Baptistery at Florence are composed of ten “Albertian Renaissance windows” that depict scenes from the Old Testament ...in stunning detail. From an art-historical perspective, these panels demonstrate a significant development in Renaissance art. Rather than depicting a single instant in a biblical narrative, Ghiberti's panels combine multiple scenes into one composite image that conveys critical elements of long and complex stories. In the first of these panels, Ghiberti illustrates God's creation of Adam and Eve, the act of disobedience at the tree, and the expulsion from the garden. Ghiberti's organization of these events, his rendering of the characters, and the various details he includes (and omits) provide a window into the mind of a sophisticated exegete. When modern biblical scholars peer through this window, we note that Eve emerges as the central figure, while Adam is a largely peripheral one. We also note how Ghiberti establishes the literary pericope for his visual exegesis in a way that generally accords with modern source-critical hypotheses about Genesis 1-3. Indeed, by illustrating certain elements of the creation story and excluding others, Ghiberti is practicing de facto source criticism. Furthermore, Ghiberti's portrayal of the various characters in the text presaged twentieth- and twenty-first-century feminist readings of Genesis 1-3, as well as modern literary-critical analysis and ethico-theological critiques.
Traceable to the tenth or eleventh century, the standard iconography of Eve created from Adam's side was not designed for naturalistically rendered figures. In the Creation of Eve (1334-37) from the ...campanile of Florence Cathedral, however, Andrea Pisano rendered the half-formed Eve in accordance with Aristotelian theories about the natural relation of body and soul then current among theologians and later assumed by art theorists. The naturalistic treatment of Eve's body necessitated subtle revisions to the traditional iconography, raised a key issue for Renaissance art, was significant for the civic program of the campanile, and embodied a common misogynist notion.
Lorenzo Ghiberti's east door of the Baptistery of San Giovanni in Florence, long famed as the Gates of Paradise, displays Old Testament stories in sculptural relief on ten gilded bronze panels. ...Stressing the significance of the Gates of Paradise as a public monument imbedded in the fabric of Florentine society will enhance our understanding of the cultural use of the door within its built environment. Consideration of its context could in turn clarify the motivation behind the choices for the iconographical program. Previous studies of the Gates of Paradise tend to isolate each narrative panel rather than examining the Gates as one door made up of ten unified panels (including decorative framing). As a result, the Gates of Paradise have rarely been looked at in terms of architectural function or context. The approach of the present study focuses on the Gates of Paradise as a significant architectural feature of Florence's built environment, as a feature that functioned as a centerpiece for the Baptistery and the Cathedral complex, and as a setting for the many spectacles that took place in that environment. This investigation aims to define the inseparable religious and civic functioning of the Gates of Paradise and to identify connections between specific function and the iconographical program. The research examines in depth the imagery of the Gates of Paradise, scrutinizing the function of the Gates within its physical setting, in the ceremonies of baptism, and in the regular rituals of the Florentine liturgical calendar. This hitherto-unexamined analysis of the Florentine liturgical ritual utilizes Medieval and Renaissance service books such as the Ritus in ecclesia servandi, Mores et consuetudines canonice florentine, Missal Ms. Edili 107 (Biblioteca Medicea Laurenziana), and the Missale romanum Mediolani, 1474. The examination of the Gates' function offers illumination of the possible meaning(s) conveyed by the choice of biblical narratives that make up the program. Research suggests that the iconographical program for the Gates of Paradise connects predominantly to its major function as the principal ritual entrance for the Baptistery. The program reiterates the liturgy for the season leading up to the Church's traditional celebratory period of baptism and the baptismal liturgy. While most days throughout the year the south portal was used for the daily baptismal ceremony, this special baptism-related use of the Gates reinforce the liturgy of the season which teaches and emphasizes the significance of the sacrament of baptism and the role of the Church in salvation.
Sacrifice of Isaac Hornik, Heidi J
The Christian century (1902),
06/2014, Letnik:
131, Številka:
13
Magazine Article
Some Jewish interpretations, such as the Targum Pseudo-Jonathan, posited that Isaac was 37 years old, and the near sacrifice was an act of faith of not one but two consenting adults, both Isaac and ...Abraham.
Title Faktorovich, Anna
Pennsylvania Literary Journal,
10/2019, Letnik:
11, Številka:
3
Book Review
Recenzirano
Princeton: Princeton University Press, 2019. Since I frequently jump between centuries in my research, I can imagine how difficult it was for Christopher Wood to compile this comprehensive history of ...art history from the period between 800-1400 to 1950-1960 in the last chapter. Ever greater fails occur every year as art historians fail to find the best art that is never sold or published in favor of pop or highly-priced art, even if the latter is artistically, intellectually and otherwise inferior. ...understanding how the study, criticism and the narratives of art history have been executed previously can help us alter our trajectory from our current course headed for fields of rotten bananas to one that future historians might recognize as beneficial for humans that follow us. The author, Wood, is part of the art scholarship establishment as he teaches at NYU; he does appear to share some of my own negative perspectives as his past books have been about "forgery", "replica", and the "origins of landscapes"; it is difficult to contemplate the same types of rectangles modern artists repeat without questioning if replication has come to the extreme, and every year brings new forgery scandals that even the top museums barely manage to notice.
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