Familienkapellen auf dem Kirchhof und dem Gutshoffriedhof

IF 0.1 0 ART
Reet Pius
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引用次数: 0

Abstract

The 1772 cemetery reform of Catherine the Great, Empress of Russia, resulted in great changes in the cemetery culture of Russia’s Baltic provinces. The ban on burials in churches and the vicinity of churches resulted in the rapid development of cemetery parks outside of settlements. The strong political relations of Estonia’s manor owners with the Russian central government resulted in the nobles being given the privilege to establish burial plots in the churchyards, but in Livonia, this was strictly prohibited. Simultaneously with the parish cemeteries, the owners of private manors established family cemeteries on their manors. The new cemeteries were not only places to bury the dead, but, inspired by contemporary poets, they were seen as family altars, which were visited regularly and which was accessed by path that was attuned to contemplation. The cemetery is complex, which includes a garden, chapel and allee, and if possible, a body of water. Noble trees were planted along the path leading to the cemetery. Oaks were preferred, which due their mighty shape were considered to be the symbol of family and nobility. Influenced by the poetry of the Enlightenment, evergreens – silver firs, thuja trees, and spruces – were called “sad trees”. The French poet Jacques Delille, whose works were popular among the Baltic Germans, sees women as mourners. And many family cemeteries were established at the initiative of women. Examples of Ancient Greek architecture, in the form of temples with porticos or antas, or the small-scale copies of the Pantheon from Ancient Rome, dominated in cemetery architecture. The chapel was comprised of underground burial chambers and above-ground memorials. A so-called memorial altar was located in the end wall of the chapel, which have survived until the present day in a few places. The Barclay de Tolly monument is the most majestic in Estonia. Already in the 1830s, the family chapels became memorials and burials no longer took place there. However, chapels continued to be built until in Estonia until the early 20th century.
家庭教堂、葛拉夫庭院
1772年,俄国女皇叶卡捷琳娜大帝的墓地改革导致了俄罗斯波罗的海各省墓地文化的巨大变化。禁止在教堂和教堂附近埋葬,导致定居点外的墓地公园迅速发展。爱沙尼亚庄园主与俄罗斯中央政府之间的紧密政治关系导致贵族有权在教堂墓地建立墓地,但在利沃尼亚,这是严格禁止的。与教区墓地同时,私人庄园的所有者在他们的庄园里建立了家族墓地。新的墓地不仅是埋葬死者的地方,而且受到当代诗人的启发,它们被视为家庭祭坛,人们定期前往,并通过与沉思相协调的路径进入。墓地很复杂,包括花园、教堂和小巷,如果可能的话,还有一片水域。通往墓地的小路两旁种上了高贵的树木。人们更喜欢橡树,因为它们高大的外形被认为是家庭和贵族的象征。受启蒙运动诗歌的影响,常青树——银杉、菩提树和云杉——被称为“悲哀之树”。法国诗人雅克·德里耶(Jacques Delille)的作品在波罗的海的德国人中很受欢迎,他将女性视为哀悼者。许多家庭墓地是在妇女的倡议下建立的。古希腊建筑的例子,以带有门廊或antas的寺庙形式,或古罗马万神殿的小型复制品,在墓地建筑中占主导地位。礼拜堂由地下墓室和地上纪念碑组成。一个所谓的纪念祭坛位于教堂的末端墙上,直到今天在一些地方幸存下来。巴克莱德托利纪念碑是爱沙尼亚最雄伟的纪念碑。早在19世纪30年代,家族教堂就变成了纪念馆,葬礼不再在那里举行。然而,直到20世纪初,小教堂才在爱沙尼亚继续建造。
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来源期刊
CiteScore
0.20
自引率
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期刊介绍: THE BALTIC JOURNAL OF ART HISTORY is an official publication of the Department of Art History of the Institute of History and Archaeology of the University of Tartu. It is published by the University of Tartu Press in cooperation with the Department of Art History. The concept of the journal is to ask contributions from different authors whose ideas and research findings in terms of their content and high academic quality invite them to be published. We are mainly looking forward to lengthy articles of monographic character as well as shorter pieces where the issues raised or the new facts presented cover topics that have not yet been shed light on or open up new art geographies.
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