{"title":"芭丝谢芭的沐浴与七宗罪:中世纪晚期《小时书》视觉叙事策略的新解读","authors":"Mónica Ann Walker Vadillo","doi":"10.22618/tp.haa.20193.221.003","DOIUrl":null,"url":null,"abstract":"When the story of Bathsheba's Bath appeared in Late Medieval Books of Hours, it always prefaced the Penitential Psalms in these manuscripts. Traditionally, these Penitential Psalms were associated with the Deadly Sins. This article will explore the visual and textual implications of this iconography in relation to its placement in Books of Hours and it will emphasize the visual narrative strategies that the artists used to prepare the reader-viewer for the appropriate performance of penitence.","PeriodicalId":331273,"journal":{"name":"AMBIGUOUS WOMEN IN MEDIEVAL ART","volume":"32 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Bathsheba's Bath and the Seven Deadly Sins: A New Interpretation of a Visual Narrative Strategy in Late Medieval Books of Hours\",\"authors\":\"Mónica Ann Walker Vadillo\",\"doi\":\"10.22618/tp.haa.20193.221.003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"When the story of Bathsheba's Bath appeared in Late Medieval Books of Hours, it always prefaced the Penitential Psalms in these manuscripts. Traditionally, these Penitential Psalms were associated with the Deadly Sins. This article will explore the visual and textual implications of this iconography in relation to its placement in Books of Hours and it will emphasize the visual narrative strategies that the artists used to prepare the reader-viewer for the appropriate performance of penitence.\",\"PeriodicalId\":331273,\"journal\":{\"name\":\"AMBIGUOUS WOMEN IN MEDIEVAL ART\",\"volume\":\"32 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-03-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"AMBIGUOUS WOMEN IN MEDIEVAL ART\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.22618/tp.haa.20193.221.003\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"AMBIGUOUS WOMEN IN MEDIEVAL ART","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.22618/tp.haa.20193.221.003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Bathsheba's Bath and the Seven Deadly Sins: A New Interpretation of a Visual Narrative Strategy in Late Medieval Books of Hours
When the story of Bathsheba's Bath appeared in Late Medieval Books of Hours, it always prefaced the Penitential Psalms in these manuscripts. Traditionally, these Penitential Psalms were associated with the Deadly Sins. This article will explore the visual and textual implications of this iconography in relation to its placement in Books of Hours and it will emphasize the visual narrative strategies that the artists used to prepare the reader-viewer for the appropriate performance of penitence.