在vistum奥塞尔维克(萨尔)的姆姆斯(沃姆西)圣奥尔拉教堂历史文献中参考

IF 0.1 0 ART
Kaur Alttoa
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It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room. Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century. The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs. Parnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Parnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Parnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Parnu had an eastern niche similar to the one in Haapsalu. It is not impossible that the motif was borrowed from the cathedral across the river or its ruins. Attention should also be paid to the fact that the design of the northern and southern walls in the sanctuary of Parnu’s St Nicholas’ Church are similar to the Vormsi church. Therefore, there is no doubt that these two sanctuaries are architecturally and genetically related. Apparently the Vormsi sanctuary was built immediately or soon after the completion of the Haapsalu Cathedral – not later than 1270. It is not impossible that the vaults were constructed sometime later. The vault painting in the Vormsi sanctuary is probably inspired by the “paradise vaults” in Gotland. The Vormsi painting is strikingly primitive. In Estonia, this primitive style can also be seen in the churches in Ridala and Poide. There is a squint (hagioscope) on the southern wall of the Vormsi church sanctuary, and an unusual sacrament niche with a light shaft in the eastern wall. This does not date back to the time when the sanctuary was built, but was added later. 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Their original location is unknown and their completion is impossible to date even within the time frame of a century. The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. 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引用次数: 0

摘要

Vormsi是一个小岛,在中世纪属于Oesel Wiek主教区。岛上有一座教堂,献给挪威国王圣奥拉夫,他无疑是斯堪的纳维亚人中最受欢迎的圣人。Villem Raam在选集《Eesti Arhitektuur》(爱沙尼亚建筑,1996年)中写的一篇短文是迄今为止唯一一篇关于Vormsi教堂建筑史的值得一提的文章。Vormsi教堂由一个避难所和中殿组成。只有圣殿在中世纪完成,石制中殿直到1632年才完成。在1989年至1990年的教堂修复过程中,发现了比石头教堂更早的木制教堂地基碎片。木制教堂可能在整个中世纪都被用作会众室。目前,人们认为沃姆西圣地建于15世纪。这种年代测定是基于金字塔形状的拱顶控制台——类似的形状也出现在帕迪斯·西多会修道院的门楼小教堂中。实际上,Padise控制台已经被重复使用。它们的原始位置未知,即使在一个世纪的时间框架内也不可能完成。最重要的是Vormsi避难所的东墙,那里有一个带尖拱门的宽敞壁龛。这种西多会的作品也被用于哈普萨鲁大教堂,显然这是沃姆西教堂的模型。哈普萨鲁大教堂是一座令人惊讶的简单的单中殿教堂,有三个开间。教堂的墙柱上有装饰丰富的柱头,柱头上既使用了罗马式图案,也使用了早期哥特式图案。至少有一些柱头是由一位大师雕刻的,他之前曾在里加大教堂的柱头大厅施工。哈普萨鲁大教堂的北段显然建于1260年代。里加附近有一座教堂,其平面图与哈普萨鲁的Holme/Martinsala教堂完全一致,该教堂可追溯到大约13世纪。考虑到平面图和雕塑装饰,哈普萨鲁大教堂的设计师和建设者来自里加周边地区是可信的。帕努也在里加-哈普萨鲁航线上。事实上,中世纪有两个城镇。在很短的一段时间内,河右岸的老帕努在哈普萨鲁之前一直是Oesel Wiek主教区的中心。然而,河的左岸被利沃尼亚骑士团控制。关于1251年左右竣工、1263年被立陶宛人摧毁的老帕努大教堂的信息很少。然而,有一件事是众所周知的——它还有一个带三个开间的中殿。没有关于大教堂东墙设计的信息。然而,新帕努的圣尼古拉教堂的圣地有一个与哈普萨鲁类似的东部壁龛。这个主题并非不可能是从河对岸的大教堂或其废墟中借来的。还应注意的是,Parnu的圣尼古拉教堂圣地的南北墙设计与Vormsi教堂相似。因此,毫无疑问,这两个圣地在建筑和基因上都有联系。显然,沃姆西圣地是在哈普萨鲁大教堂建成后立即或不久建造的——不晚于1270年。并非不可能的是,这些拱顶是在某个时候建造的。沃姆西保护区的拱顶绘画可能受到了哥特兰“天堂拱顶”的启发。沃姆西的画非常原始。在爱沙尼亚,这种原始风格也可以在Ridala和Poide的教堂中看到。Vormsi教堂避难所的南墙上有一个斜视镜(hagioscope),东墙上还有一个不同寻常的圣礼壁龛,里面有一个灯杆。这并不能追溯到避难所建造的时候,而是后来添加的。爱沙尼亚至少有八个这样的圣礼壁龛,其中大部分建于15世纪。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Anmerkungen zur Baugeschichte der St. Olaikirche auf Worms (Vormsi) im Bistum Ösel-Wiek (Saare-Lääne)
Vormsi is a small island that belonged to the Oesel-Wiek bishopric during the Middle Ages. There is a church on the island that is dedicated to St Olaf, the Norwegian king who was undoubtedly the most popular saint among the Scandinavians. A short article written by Villem Raam in the anthology Eesti Arhitektuur ( Estonian  Architecture , 1996) is the only one worth mentioning that has appeared to date on the architectural history of the Vormsi church. The Vormsi church is comprised of a sanctuary and nave. Only the sanctuary was completed during the Middle Ages, and the stone nave was not completed until 1632. During the restoration of the church between 1989 and 1990, fragments were found of the foundation of the wooden church that predated the stone one. It is possible that the wooden church was utilised throughout the Middle Ages as a congregation room. Currently, it is believed that the Vormsi sanctuary was built during the 15th century. This dating is based on the pyramid-shaped vault consoles – a similar shape also appears in the chapel of the gate tower in the Padise Cistercian monastery. Actually, the Padise consoles have been reused. Their original location is unknown and their completion is impossible to date even within the time frame of a century. The most significant is the eastern wall of the Vormsi sanctuary, where a spacious niche with pointed arch is located. This Cistercian composition was also used in the Haapsalu Cathedral and apparently that was the model for the Vormsi church. The Haapsalu Cathedral is a surprisingly simple single-nave church with three bays. The church has richly decorated capitals on its wall pillars, on which both Romanesque and Early Gothic motifs have been used. At least some of the capitals have been hewn by a master who previously worked on the construction of the capital hall in the Riga Cathedral. The northern section of the Haapsalu Cathedral was apparently built in the 1260s. In the vicinity of Riga there is a church with a floor plan that is an exact counterpart to the one in Haapsalu – the Holme / Martinsala Church that dates back to about the 13th century. Considering both the floor plan and the sculptured decorations, it is believable that the designers and builders of the Haapsalu Cathedral came from the Riga environs. Parnu is also on the Riga-Haapsalu route. Actually, two towns existed there during the Middle Ages. For a short time, Old-Parnu on the right bank of the river had been the centre of the Oesel-Wiek bishopric before Haapsalu. However, the left bank of the river was controlled by the Livonian Order. There is very little information about the Old-Parnu Cathedral that was completed around 1251 and destroyed by the Lithuanians in 1263. However, one thing is known – it also had a single-nave with three bays. There is no information about the design of the eastern wall of the cathedral. However, the sanctuary of St Nicholas’ Church in New-Parnu had an eastern niche similar to the one in Haapsalu. It is not impossible that the motif was borrowed from the cathedral across the river or its ruins. Attention should also be paid to the fact that the design of the northern and southern walls in the sanctuary of Parnu’s St Nicholas’ Church are similar to the Vormsi church. Therefore, there is no doubt that these two sanctuaries are architecturally and genetically related. Apparently the Vormsi sanctuary was built immediately or soon after the completion of the Haapsalu Cathedral – not later than 1270. It is not impossible that the vaults were constructed sometime later. The vault painting in the Vormsi sanctuary is probably inspired by the “paradise vaults” in Gotland. The Vormsi painting is strikingly primitive. In Estonia, this primitive style can also be seen in the churches in Ridala and Poide. There is a squint (hagioscope) on the southern wall of the Vormsi church sanctuary, and an unusual sacrament niche with a light shaft in the eastern wall. This does not date back to the time when the sanctuary was built, but was added later. There have been at least eight such sacrament niches in Estonia, most of which were built in the 15th century.
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来源期刊
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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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