Elucidating Opposites
A religious diptych provided medieval people with opportunities to access the transcendental and to engage in meditation on spiritual routes to salvation. The binary format of the diptych lent itself to pairings of images that could include oppositions or iconographic contradictions. By manipulating...
| Published in: | Religion and the arts |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Brill
2017
|
| In: |
Religion and the arts
Year: 2017, Volume: 21, Issue: 3, Pages: 309-334 |
| Standardized Subjects / Keyword chains: | B
Giotto, di Bondone 1266-1337
/ Diptych
/ Virtue
/ Vice
|
| RelBib Classification: | CE Christian art |
| Further subjects: | B
Diptych
Giotto
virtues
vices
opposites
crucifixion
Mary
personification
|
| Online Access: |
Volltext (Verlag) |
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| 520 | |a A religious diptych provided medieval people with opportunities to access the transcendental and to engage in meditation on spiritual routes to salvation. The binary format of the diptych lent itself to pairings of images that could include oppositions or iconographic contradictions. By manipulating these pairings, artists and patrons could enhance the complexity of the theological messages as well as of the relationship between art and user. Like many Gothic diptychs from Italy, an early-fourteenth-century example by Giotto is comprised of a Crucifixion and a vision of Mary’s heavenly court. The celestial group around the Virgin and child includes seven prominent personifications of the virtues. By properly identifying these moral qualities through comparisons with Giotto’s other works and by examining the oppositions they possibly addressed, we can elucidate some of the spiritual concerns of the original patron(s) who paid for and engaged with this diptych. | ||
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| STE | 0 | 0 | |a 双联画,对折画,恶习,恶习,恶行,坏习惯,恶行,坏习惯,美德,美德 |
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