Access count of this item: 137
|Other Titles:||The Rider and the Virgin Mary of the Bamberg Cathedral: The Tradition of the Song of Songs and the Image Program of the Cathedral Sculpture|
|Author's alias:||NAKAMA, Aya|
|Journal title:||ディアファネース -- 芸術と思想 = Diaphanes: Art and Philosophy|
|Abstract:||The sculptures of the Bamberg Cathedral are one of the representative works of the thirteenthcentury German Gothic. Though it yielded various interpretations in the history of art, the theme of the program of sculptures still remains unclarified in the previous studies. To analyze them as a large sculpted image program, I examine the meanings of unique motifs from the tradition of the theological arguments of Bridal Mysticism based on the Song of Songs. The Song of Songs was one of the main sources of the cult of the Virgin Mary and the Mysticism, which was also popular theme of the sculpture of the French Gothic portals at that period. The first chapter examines the relationship of portal sculpture of the Bamberg Cathedral and the Song of Songs. The Gnadenporte shows the Virgin and the Child as bride and bridegroom of the Song of Songs which was analyzed by Erna Wagnar. In addition, it is also seen in the local style of manuscript to depict bridal pair as seated mother and child. The Adamspforte indicates the relationship between the sculpture and the veneration of St. Cunigunde as sacred bride. The Fürstenportal demonstrates the love between bridegroom and bride. The second chapter examines the sculptures of choir barrier of St. George. The Rider is the sacred bridegroom who leads brides by holding the reins. The Angel with a crown is about to crown the Virgin Mary as a bride of Christ. The Old Woman is St. Anna as the mother of the Virgin Mary as the bride who indicate the childhood of the Virgin. The prophets are narrators of the Bridal Mysticism and attendants of bride at the same time. The third chapter examines the relationship of the Holy Roman Emperor Frederick II. and the Song of Songs. The Bamberg Cathedral is the only church building in the north of Alps that literature suggests its connection to the finance of Frederick II. . He also made use of the concept of the Song of Songs in his propaganda. This article argues that the sculpted program of the Bamberg Cathedral depicts mainly the Bridal Mysticism of the Song of Song based on the concept of the mystical marriage and the salvation of the brides at the end of time. In relation to the worship of Cathedral founders and the tradition of the Song of Songs of the cult of the Virgin Mary, the Bride of Christ could be an important factor of the sculpted program of the Bamberg Cathedral.|
|Appears in Collections:||第5号|
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.