Bilden, texten och kyrkorummet. En studie av scener kring Jesu födelse och Kristoffermotivet i Sydskandinaviens medeltida kalkmåleri
(2006)- Abstract
- The subject of the thesis is the narratives in medieval mural paintings in southern Scandinavia c 1100-1530. Its aim is to examine their relationship to texts, to the viewer and to the church space, where the viewer looks at the murals. Two different subjects have been chosen for study: S Christopher and the Nativity of Christ. From the corpus of preserved mural paintings with these subjects in southern Scandinavia a selection of monuments has been put to closer study.
The dissertation consists, after a review of previous research (1), of four main chapters, focusing on: 2. The S Christopher image, its temporal aspects and its relationship to the verbal narrative and to the church space. 3. The Nativity scene and its... (More) - The subject of the thesis is the narratives in medieval mural paintings in southern Scandinavia c 1100-1530. Its aim is to examine their relationship to texts, to the viewer and to the church space, where the viewer looks at the murals. Two different subjects have been chosen for study: S Christopher and the Nativity of Christ. From the corpus of preserved mural paintings with these subjects in southern Scandinavia a selection of monuments has been put to closer study.
The dissertation consists, after a review of previous research (1), of four main chapters, focusing on: 2. The S Christopher image, its temporal aspects and its relationship to the verbal narrative and to the church space. 3. The Nativity scene and its relationship to the narrative and its temporal aspects. 4. The pictorial sequence of the Nativity story and the interrelationship of its different scenes, the sequence and the church space. The finishing chapter (5) focuses on the relationship between the pictures, the church space, its function and the worshippers.
The S Christopher images have played a very active part in the development of the saint's legend. The pictures develop from an imago-like representation to a historia in the form of a scene with implied action. In a similar way the Nativity scene develops from a representation without much implied action, and later becomes more closely related to time and change - something that partly changes its meaning. Most of the Nativity scenes are part of pictorial sequences, with an entirely chronological arrangement or with a more or less typological one.
The meaning and content of the sequences are influenced by their combination of scenes in a spatial structure, and also by their placing in the church interior. The position of the mural paintings on the walls and vaults and in the different parts of the church interior gives them varying accessibility for the worshippers and the clergy, and different relationship to the centres of the room, such as the altar(s), the font, the entrance, the screen etc. The pictorial surfaces are also to different degrees subordinate to the existing surfaces and boundaries, which become an important factor in the arrangement of the mural paintings. (Less) - Abstract (Swedish)
- Popular Abstract in Swedish
Avhandlingen tar sin utgångspunkt i frågan om huruvida medeltidens kyrkomålningar kan berätta, och i så fall hur. Syftet är att utforska bildernas förhållande till texter, till betraktaren och det rum där bilderna och betraktaren befinner sig. Till grund för studiet ligger en inventering av medeltida kalkmålningar av Sankt Kristoffer och scener kring Jesu födelse ca 1100-1530 i Sydskandinavien, som här avser det medeltida Danmark och Götaland, samt Mälarlandskapen. För själva studiet har ett urval av monument gjorts, och detta urval undersöks närmare för att visa variationerna inom materialet.
Avhandlingen är efter en inledande genomgång av tidigare forskning (1) delad i fyra... (More) - Popular Abstract in Swedish
Avhandlingen tar sin utgångspunkt i frågan om huruvida medeltidens kyrkomålningar kan berätta, och i så fall hur. Syftet är att utforska bildernas förhållande till texter, till betraktaren och det rum där bilderna och betraktaren befinner sig. Till grund för studiet ligger en inventering av medeltida kalkmålningar av Sankt Kristoffer och scener kring Jesu födelse ca 1100-1530 i Sydskandinavien, som här avser det medeltida Danmark och Götaland, samt Mälarlandskapen. För själva studiet har ett urval av monument gjorts, och detta urval undersöks närmare för att visa variationerna inom materialet.
Avhandlingen är efter en inledande genomgång av tidigare forskning (1) delad i fyra kapitel, inriktade på: 2. Den enskilda Kristofferbilden, dess temporala aspekter och förhållande till den verbala berättelsen och kyrkorummet. 3. Den enskilda scenen av Jesu födelse och dess förhållande till berättelsen och dess temporala aspekter. 4. Bildsviten kring Jesu födelse-scenen och förhållandet mellan dess enskilda bilder och hela sviten, och till kyrkorummet. I en avslutande del (5) fokuseras sammanfattande på förhållandet mellan bilderna och kyrkorummet med dess funktioner och betraktare.
Kristofferbilderna har spelat en mycket aktiv roll i Kristofferlegenens framväxt. Bilderna utvecklas ur en imago-liknande framställning till histora i form av en scen med implicerad handling. På liknande sätt utvecklas Jesu födelse-scenen ur en icke handlingsorienterad bild av Jesu födelse, som visar jungfru Maria på en bädd och Jesusbarnet i krubban. Senare förskjuts gradvis bildernas temporala aspekter och scenerna blir närmare relaterade till tid och förändring, vilket delvis ändrar deras betydelse.
De flesta av Jesu födelse-scenerna ingår i en bildsvit, som kan vara enbart kronologisk eller ha mer eller mindre typologisk disposition. Sviternas betydelse och innehåll påverkas av deras sammansättning och struktur, men också av deras placering i kyrkorummet. Målningarnas placering på väggar eller i valv och i kyrkorummets olika delar ger dem olika tillgänglighet för betraktare och olika relation till rumscentra som altare, dopfunt, ingång, korskrank o s v. De bildfält som målningarna upptar underordnas också i olika grad kyrkorummets arkitektur och dennas ytor och begränsningar, som används i bildprogrammens disposition. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/25773
- author
- Hildeman Sjölin, Cecilia LU
- supervisor
- opponent
-
- Docent Jacobsson, Carina, Uppsala universitet
- organization
- publishing date
- 2006
- type
- Thesis
- publication status
- published
- subject
- keywords
- Historia, Temporality, Pictorial/textual interaction, Explicit/implicit action, S Christopher, Nativity of Christ, Legenda Aurea, Meditationes Vitae Christi, S Bridget, Typology, Chronology, Church space, Pictorial sequence, Imago, Mural painting, Pictorial narrative, Worshipper, Viewer, Art History, Konstvetenskap
- pages
- 353 pages
- publisher
- Edition Arcana
- defense location
- Dept of Art History and Musicology, Biskopsgatan 5, Lund, hus Josephson, sal 314
- defense date
- 2006-03-03 10:00:00
- ISBN
- 91-971311-3-X
- language
- Swedish
- LU publication?
- yes
- id
- f07a683f-cf9c-4f96-a327-209aab83ab23 (old id 25773)
- date added to LUP
- 2016-04-04 11:55:00
- date last changed
- 2018-11-21 21:07:58
@phdthesis{f07a683f-cf9c-4f96-a327-209aab83ab23,
abstract = {{The subject of the thesis is the narratives in medieval mural paintings in southern Scandinavia c 1100-1530. Its aim is to examine their relationship to texts, to the viewer and to the church space, where the viewer looks at the murals. Two different subjects have been chosen for study: S Christopher and the Nativity of Christ. From the corpus of preserved mural paintings with these subjects in southern Scandinavia a selection of monuments has been put to closer study.<br/><br>
<br/><br>
The dissertation consists, after a review of previous research (1), of four main chapters, focusing on: 2. The S Christopher image, its temporal aspects and its relationship to the verbal narrative and to the church space. 3. The Nativity scene and its relationship to the narrative and its temporal aspects. 4. The pictorial sequence of the Nativity story and the interrelationship of its different scenes, the sequence and the church space. The finishing chapter (5) focuses on the relationship between the pictures, the church space, its function and the worshippers.<br/><br>
<br/><br>
The S Christopher images have played a very active part in the development of the saint's legend. The pictures develop from an imago-like representation to a historia in the form of a scene with implied action. In a similar way the Nativity scene develops from a representation without much implied action, and later becomes more closely related to time and change - something that partly changes its meaning. Most of the Nativity scenes are part of pictorial sequences, with an entirely chronological arrangement or with a more or less typological one.<br/><br>
<br/><br>
The meaning and content of the sequences are influenced by their combination of scenes in a spatial structure, and also by their placing in the church interior. The position of the mural paintings on the walls and vaults and in the different parts of the church interior gives them varying accessibility for the worshippers and the clergy, and different relationship to the centres of the room, such as the altar(s), the font, the entrance, the screen etc. The pictorial surfaces are also to different degrees subordinate to the existing surfaces and boundaries, which become an important factor in the arrangement of the mural paintings.}},
author = {{Hildeman Sjölin, Cecilia}},
isbn = {{91-971311-3-X}},
keywords = {{Historia; Temporality; Pictorial/textual interaction; Explicit/implicit action; S Christopher; Nativity of Christ; Legenda Aurea; Meditationes Vitae Christi; S Bridget; Typology; Chronology; Church space; Pictorial sequence; Imago; Mural painting; Pictorial narrative; Worshipper; Viewer; Art History; Konstvetenskap}},
language = {{swe}},
publisher = {{Edition Arcana}},
school = {{Lund University}},
title = {{Bilden, texten och kyrkorummet. En studie av scener kring Jesu födelse och Kristoffermotivet i Sydskandinaviens medeltida kalkmåleri}},
year = {{2006}},
}