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Les images-reliquaires, dont la singularité attire notre attention, se définissent par la complexité de leur composition tant au point de vue artistique qu’au point de vue religieux. Il s’agit ici des peintures sur panneau de bois (plus rarement, sur verre églomisé), ayant fonction de porte-reliques, et décorées dans certains cas de pierres précieuses ou semi-précieuses. Le modèle de tableau-reliquaire : panneau unique, diptyque et triptyque comprenant le portrait de la Vierge à l’Enfant enchâssé dans une large bordure incrustée de reliques, se répandit particulièrement dans la péninsule italienne, et par la suite en Europe centrale. Cependant, les reliquaires polonais, connus sur le territoire de la Petite-Pologne durant le XVe siècle jusqu’au début du siècle suivant, ne sont mentionnés que de manière sporadique dans l’histoire de l’art. Ils sont apparus dans quelques articles, mais sans avoir fait l’objet d’aucune analyse spécifique quant à leur contenu iconographique, leur similarité formelle, ainsi qu’à l’égard de leur usage dévotionnel. C’est pourquoi, nous souhaitons les joindre aux créations semblables répandues dans l’art entre Orient et Occident au Moyen Âge. Dans la même optique, il serait également intéressant de s’interroger sur la continuité de tels objets au-delà de l’époque médiévale
Relics --- Reliquaries. --- Christian art and symbolism --- Reliques --- Reliquaires --- Art et symbolisme chrétiens --- History. --- Histoire --- Mary, --- Art. --- Devotion to. --- Art chrétien --- Art et symbolisme chrétiens --- Devotion to the Blessed Virgin Mary. --- Mariendarstellung. --- Relics. --- Reliquienkult. --- Marie, --- Art --- --Reliquaire médiéval --- --Pologne --- --Europe --- --Moyen âge, --- Reliquaire médiéval --- Moyen âge, 476-1492 --- Maria Deipara --- Imagines --- Pologne --- Europe
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I miracoli arrivano all'improvviso, come un fulmine a ciel sereno. La liquefazione del sangue di san Gennaro si ripete invece da secoli in occorrenze precise. «Nessuna legge naturale è in grado di spiegare un fenomeno che si verifichi soltanto in date liturgicamente significative» è stato detto. Eppure de Ceglia dimostra che nel Medioevo il sangue di san Gennaro era inteso come una sostanza semplicemente instabile e ricostruisce le vicende che hanno conferito alle sue liquefazioni l'euritmia che le rende cosí celebri. «I capricci non piacciono a nessuno. Davanti a comportamenti refrattari a ogni norma, all'inizio l'entusiasmo è incontenibile, poi i fedeli si stancano di un oggetto che, senza una chiara ragione, ora è in un modo ora in un altro, cosí lo abbandonano smorzandone gli slanci vitali. Ecco perché quel sangue non avrebbe potuto godere a lungo della libertà di gorgogliare come e quando desiderasse, trovandosi invece nella condizione di dover acquisire una forma: un modo di manifestarsi, cioè, cosí peculiare da renderlo unico nell'orbe cristiano». La liquefazione periodica del sangue di san Gennaro non è ufficialmente riconosciuta come miracolosa dalla Chiesa cattolica, che piú cautamente ora parla di prodigio. Ma il fenomeno è stato per secoli chiamato miracolo in testi liturgici approvati dall'autorità ecclesiastica e in discorsi di vescovi, cardinali, papi e santi. L'Inquisizione ha inoltre sottoposto a formali processi coloro che lo hanno attribuito a cause naturali. La questione del riconoscimento ufficiale, se ha un senso per gli ultimi cinquant'anni, ne ha dunque tanto meno quanto piú ci si spinga indietro nel tempo. Perché quel mutare in determinate circostanze fu di fatto considerato un miracolo ed è questo ciò che interessa allo storico. Come si può però far storia naturale di qualcosa che per definizione supera l'ordine del creato? La ricostruzione che qui si abbozza non si interroga sul miracolo in sé, bensí sulla cultura che lo ha identificato come tale. Obiettivo di questo lavoro è infatti ripercorrere in chiave antropologica gli sforzi compiuti da uomini e donne del passato per concettualizzare un fenomeno complesso e sfuggevole. Il miracolo di san Gennaro assurge cosí a punto di osservazione privilegiato da cui ripercorrere non solo la storia di Napoli, ma anche e soprattutto l'evoluzione della mentalità di chi, persino in terre assai lontane, con quell'appuntamento periodico si è nel tempo confrontato. E consente di delineare una storia della meraviglia e della sua funzione conoscitiva. Un racconto di cuori che battono all'impazzata, di mani che pregano e di gole riarse dalle incessanti giaculatorie. Ma anche di occhi che scrutano alla ricerca di un senso. O semplicemente di un perché.
Blut --- Heiligenverehrung --- Prozession --- Reliquie --- Reliquienkult --- Wunder --- Miracles --- Januarius, --- Januarius --- Cult --- San Gennaro --- Naples (Italy) --- Naples (Italie) --- Religious life and customs. --- Vie religieuse --- Religious life and customs --- Miracles - Italy - Naples --- Ianuarius ep. Beneventanus m. Puteolis --- Sanguis liquefactio --- Januarius, - Saint, Bishop of Benevento, - -305 - Cult - Italy - Naples --- Naples (Italy) - Religious life and customs --- Sanguinis liquefactio --- Januarius, - Saint, Bishop of Benevento, - -305
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Relics --- Reliquaries --- Christian art and symbolism --- Christian saints --- Buddhist saints --- Reliques --- Reliquaires --- Art et symbolisme chrétiens --- Saints chrétiens --- Saints bouddhistes --- Exhibitions. --- Cult --- Expositions --- Culte --- Ausstellung. --- Frömmigkeit. --- Heiligenverering. --- Kunst. --- Relics. --- Relikwieën. --- Reliquaries. --- Reliquiar. --- Reliquie. --- Reliquienkult. --- Cult. --- Geschichte 500-1500. --- Christian special devotions --- Art --- relics --- anno 500-1499
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As the cult of saints became increasingly important to the Christian religion during the latter centuries of the Roman Empire, so too the veneration of relics became a central element of Christian piety. The relics of holy men and women--the very tangibility of which ensured their lasting appeal--could be used to heal the sick, improve the weather, ensure victory in battle, and represent power and authority. Even today, in an era of declining church attendance, famous relics such as the head of St Catherine of Siena or the tongue of St Anthony of Padua continue to draw hundreds of thousands of pilgrims; the need to preserve and venerate objects associated with the important and the famous is a well-established human trait. This book is the first to explore the historical roots of the cult of relics in early medieval Ireland, deepening our understanding of how the pagan Irish adapted to the new religion. Examining the cult of relics from the earliest Irish sources up to the ninth century, it provides insights into the role of relics and the culture and people to whom they were so significant. The volume investigates how the Christian phenomenon of relic veneration developed in early Ireland and it evaluates the continuity between Irish practice and that on the continent. By offering a new model of how the cult of relics evolved and by exploring the extent to which it helped forge early Irish Christianity, the arguments presented here have the potential to reshape views of the entire period.
Relics --- Christian shrines --- Reliques --- Sanctuaires chrétiens --- History --- Histoire --- Holy places, Christian --- Relics and reliquaries --- Christian shrines. --- Relics. --- Reliquienkult. --- Irland. --- Shrines, Christian --- Shrines --- Christian pilgrims and pilgrimages --- Bones --- Religious articles --- To 1500. --- Ireland. --- Christian holy places --- Christian shrines - Ireland - History - To 1500 --- Relics - Ireland - History - To 1500 --- Irlande
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Proporcionado por el editor : "Although objects associated with the Passion and suffering of Christ are among the most important and sacred relics venerated by the Catholic Church, there has never been a study that considers how they were presented to the faithful. Cynthia Hahn adopts an accessible, informative, and holistic approach to the important history of Passion relics--first the True Cross, and then the collective group of Passion relics--stretching from their display in reliquaries, their presentation in church environments, their purposeful collection as centerpieces in royal and imperial collections, and finally to their veneration in pictorial form as Arma Christi. Tracing the ways that Passion relics appear and disappear in response to Christian devotion and to historical phenomena, ranging from pilgrimage and the Crusades to the promotion of imperial power, this groundbreaking study presents a compelling picture of a very important aspect of late medieval and early modern devotion."
Christian art and symbolism --- Jesus Christ --- Christ --- Cristo --- Jezus Chrystus --- Jesus Cristo --- Jesus, --- Christ, Jesus --- Yeh-su --- Masīḥ --- Khristos --- Gesù --- Christo --- Yeshua --- Chrystus --- Gesú Cristo --- Ježíš --- Isa, --- Nabi Isa --- Isa Al-Masih --- Al-Masih, Isa --- Masih, Isa Al --- -Jesus, --- Jesucristo --- Yesu --- Yeh-su Chi-tu --- Iēsous --- Iēsous Christos --- Iēsous, --- Kʻristos --- Hisus Kʻristos --- Christos --- Jesuo --- Yeshuʻa ben Yosef --- Yeshua ben Yoseph --- Iisus --- Iisus Khristos --- Jeschua ben Joseph --- Ieso Kriʻste --- Yesus --- Kristus --- ישו --- ישו הנוצרי --- ישו הנצרי --- ישוע --- ישוע בן יוסף --- المسيح --- مسيح --- يسوع المسيح --- 耶稣 --- 耶稣基督 --- 예수그리스도 --- Jíizis --- Yéshoua --- Iėsu̇s --- Khrist Iėsu̇s --- عيسىٰ --- Relics. --- Art --- religious symbolism --- relics --- Passie van Christus --- anno 500-1499 --- Arma Christi. --- Christliche Kunst. --- Frömmigkeit. --- Kunst. --- Reliquie. --- Reliquienkult. --- Medieval. --- Jesus Christ. --- Jesus Christus. --- 500-1500. --- Christian art and symbolism - Medieval, 500-1500. --- Iesus Christus D.N. --- Passio --- Reliques --- Jesus Christ - Relics. --- Christelijke kunst --- kunst en godsdienst
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