大耶林石上的画

Rita Wood
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引用次数: 3

摘要

更大的耶林石,有一个信息丰富的符文铭文,提到了哈拉尔德·布拉斯特国王和丹麦人的皈依,是10世纪后期位于丹麦半岛中心的一个大型重要考古遗址的核心。这块石头被认为是在某个教堂的南面,从那个时期起就在两个土丘之间。这块巨石有三个主要表面,都被雕刻严密覆盖。第一个面有大部分的铭文,这对符文来说是不寻常的,它像拉丁文字一样平行线排列。第二张脸是一只动物和一条蛇缠绕在一起,第三张脸是斯堪的纳维亚最早的基督形象——这两幅“画”可以比作一幅双联画,因为它们有相似的边界,并用一个“铰链”连接起来。识别双连画意味着这两张脸必须具有相容而非对立的主体。有人认为,设计和雕刻是由来自奥斯曼德国的一个传教士团体控制的,在选择主题时,他们使用了各种来源,主要是教皇格里高利大帝的著作。根据这些早期的资料,动物和蛇可以被解释为圣父和圣灵。很可能是基督在胜利中升天,所以这两幅画显示了三位一体团结在一起庆祝人类的救赎。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The pictures on the greater Jelling stone
The greater Jelling stone, with an informative runic inscription mentioning King Harald Blåtand and the conversion of the Danes, is at the core of a large and important archaeological site of the late tenth century situated in the centre of the Danish peninsula. The stone is thought to have been positioned immediately to the south of some sort of church, and between the two mounds ever since that period. The great boulder has three main surfaces, all closely covered by carving. The first face has most of the inscription, which, unusually for runes, is arranged in parallel lines as for a Latin text. The second face shows an animal entwined with a snake, and the third face has the earliest image in Scandinavia of Christ – these two ‘pictures’ can be compared to a diptych since they share a similar border and are connected by a ‘hinge’. Identifying a diptych implies that the two faces must have compatible not antagonistic subjects. It is suggested that the design and carving was controlled by a missionary party from Ottonian Germany, and that in choosing the motifs they used various sources, mostly in the writings of Pope Gregory the Great. Following these early sources, the animal and snake can be interpreted as God the Father and God the Holy Spirit. It is likely that Christ is shown ascending to heaven in triumph, so that the two pictures show the Trinity united in celebration of the redemption of mankind.
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