Mourning and non-ordered religious behaviour in the tombs of Philip the Bold, John the Fearless and Margaret of Bavaria

IF 0.1 2区 艺术学 0 ART
Andrew W. Murray
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引用次数: 0

Abstract

The tomb of the Burgundian duke Philip the Bold in Dijon, designed by the Haarlem-born sculptor Claus Sluter, holds a key position in the development of Western funerary art, especially on account of the lively and moving depiction of the cortège of weepers around the tomb. In this monument it is they who provide an example to their beholders – namely, how to mourn the deceased ruler. Not only do these expressive statuettes encourage the viewer to pray for Philip’s soul, but they also evoke the actual funeral liturgy of the duke. While the clerical mourners move in a single direction and form a procession, the lay figures seem to move more freely, directing themselves towards the tomb’s onlookers and stimulating them to pray for Philip’s afterlife. This conflation of transitional and everlasting rituals expresses a duality in late Gothic attitudes towards death.
大胆的腓力、无畏的约翰和巴伐利亚的玛格丽特的坟墓里的哀悼和无序的宗教行为
勃艮第公爵菲利普的陵墓位于第戎,由哈勒姆出生的雕塑家克劳斯·斯鲁特设计,在西方丧葬艺术的发展中占有重要地位,特别是由于坟墓周围的哭泣者的生动感人的描绘。在这座纪念碑中,他们为他们的观众提供了一个榜样-即如何哀悼已故的统治者。这些富有表现力的小雕像不仅鼓励观众为菲利普的灵魂祈祷,而且还唤起了公爵的实际葬礼仪式。当牧师的哀悼者朝着一个方向移动并形成一个队伍时,世俗人物似乎更自由地移动,将自己导向坟墓的旁观者并刺激他们为菲利普的来世祈祷。这种过渡性和永久性仪式的合并表达了晚期哥特人对死亡的双重态度。
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CiteScore
0.10
自引率
50.00%
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