scholarly journals Courtly Motives In The Art Of The High Middle Ages

2021 ◽  
Author(s):  
Alina Slivinska ◽  
Larysa Tzvetkova
Keyword(s):  
Middle Ages ◽  
Symbolic Representation ◽  
Virgin Mary ◽  
Visual Images ◽  
Religious Symbol ◽  
High Middle Ages ◽  
Definition Of ◽  
The Rose ◽  
Gothic Art ◽  
The Ideal

Purpose of the article. The article presents a study of courtly motives in the art of the high Middle Ages and the foundations of the ideological and figurative-symbolic representation of courtly images in various artistic forms of this era. Methodology. The study of the content of courtly motives and images, the definition of the ideological foundations of their figurative and symbolic representation was carried out through the use of historical, analytical, symbolic, and allegorical methods. Scientific novelty. The article examines courtly motives and courtly images presented in the art of the High Middle Ages, identifies the ideological foundations of their figurative and symbolic representation in various artistic forms of this era. Conclusions.  The visual images of medieval masters create the world of courtly, filling the courtly universe with numerous subjects that reflect the image and lifestyle of both knights and their Beautiful ladies. And thus they help to understand the norms and prescriptions of courtesy, the models of the participants' behavior in the courteous action, the corresponding rituals and etiquette norms of courteous relations, their attributes, and stylistics. In order to do this, the artists used various techniques - bright colors, saturation with symbols, heraldry, outfits, etc. Especially popular was the use of the rose image, which became the quintessence of Gothic art, its courtly and religious symbol, the embodiment of the ideal of chivalry to the Beautiful Lady, and a kind of reflection of the Christian image of the Virgin Mary.

Northern Italian Confraternities and the Immaculate Conception in the Fourteenth Century

1998 ◽  
Vol 49 (4) ◽  
pp. 599-619
Author(s):  
BARBARA SELLA
Keyword(s):  
Middle Ages ◽  
Fourteenth Century ◽  
Religious Beliefs ◽  
Virgin Mary ◽  
Lay Participation ◽  
Blessed Virgin Mary ◽  
Immaculate Conception ◽  
Lay Piety ◽  
Definition Of ◽  
Theological Understanding

The early fourteenth century marks one of the most significant periods in the development of the doctrine of the Immaculate Conception. Not only did this period witness a profound transformation in the theological understanding of the older feast of the Conception of the Blessed Virgin Mary, but it also brought about the active engagement of the laity in its celebration. In northern Italy the first lay confraternities dedicated to celebrating the feast of the Conception were founded in the 1320s and 1330s under the direction of the Franciscans, then the greatest advocates of the immaculist cause. This coincidence between the theological definition of Mary's conception, lay participation in the feast's celebration, and Franciscan sponsorship of confraternities raises interesting questions about the nature of lay piety and the role of lay associations in disseminating religious beliefs.The question of when certain religious beliefs and their theological formulations become known and understood by the majority of the faithful is complex, particularly in the case of the Immaculate Conception. No explicit mention of Mary's sinless conception exists in Scripture or in apostolic teaching. Belief in the Immaculate Conception emerged only gradually, through centuries of reflection and disputation, and was not proclaimed a dogma of faith until 1854. This gradual unfolding of the doctrine has meant that identifying the shift from a general reverence for Mary's conception to an explicit belief in the sinlessness of her conception has proved difficult. A second difficulty is that for centuries the qualifier ‘immaculate’ was not attached to the name of the feast. During the Middle Ages the feast was referred to simply as the ‘Conception of the Blessed Virgin Mary’ The mere observance of the feast, therefore, tells us little about what the faithful actually believed.

The Virgin Mary, Miriam, and Jewish Reactions to Marian Devotion in the High Middle Ages

AJS Review ◽  
2013 ◽  
Vol 37 (1) ◽  
pp. 75-91 ◽  
Author(s):  
Ephraim Shoham-Steiner
Keyword(s):  
Middle Ages ◽  
Fourteenth Century ◽  
Virgin Mary ◽  
Marian Devotion ◽  
High Middle Ages ◽  
The Dead ◽  
Dead Man

While discussing the rites and customs of burial and mourning in his bookTashbeẓ katan, the early fourteenth-century Rabbi Shimshon ben Ẓadok made the following remark:And the fact that we spill the water [that was in the presence of the dead man] outside [after the death] is because that when Miriam died the well ceased. For it is written: ‘And there was no water for the congregation [‘eda] since it was for her merit that the well traveled [with the Israelites] and we allude to it that he [the deceased] is a great man and he is worthy that water would cease on his behalf.

scholarly journals Studnia przydrożna z XVI-XVII wieku na Ostrowie Tumskim w Poznaniu

2018 ◽  
pp. 67-80
Author(s):  
Olga Antowska-Gorączniak ◽  
Paweł Lech ◽  
Andrzej Sikorski
Keyword(s):  
Sea Level ◽  
Middle Ages ◽  
Virgin Mary ◽  
16Th Century ◽  
Modern Times ◽  
The Road ◽  
Late Middle Ages ◽  
The Rose ◽  
The Church ◽  
Beam Technique

In July 2008 a roadside well was discovered on the cathedral island in Poznań (to date at least five drawing wells from the late Middle Ages and modern times have been registered).  The well was unearthed at the rose square (excavation pit 51/2008) about 18 m from the facade of the church of the Blessed Virgin Mary (and the now nonexistent churchyard) at the level of  56.09 meters above sea level (rubble fill-in) – 50.61 meters above sea level (end of exploration) – Fig. 1.  The object was situated directly next to the road, in a large oval or quadrilateral pit (with rounded corners) ca 3.6 m in diameter, and was ca 5.5 m deep. The wooden construction which protected the walls of the object was done in the post and beam technique – Fig. 2. Many different objects fell (were thrown) into the well while water was being drawn from it, perhaps some of them were redeemed while other remained at the bottom. However, most of the “sunk” relics got into the well while it was being dug or repaired, but especially when it was filled in, i.e. when water was no longer drawn from it (Figs. 4 and 5).The well, which was sunk during the rule of Bishop Jan Lubrański (1499-1520), i.e. at a time of prosperity of Ostrów Tumski in the 16th century, was in use and water was drawn from it in the 15/16-17th centuries. It is difficult to assert what reasons decided about its being

From Chronicle to Romance

After Lavinia ◽  
2017 ◽  
Author(s):  
John Watkins
Keyword(s):  
Middle Ages ◽  
Courtly Love ◽  
Virgin Mary ◽  
Negative Attitudes ◽  
High Middle Ages ◽  
Attitudes Toward Marriage

This chapter focuses on interdynastic marriage during the High Middle Ages. In particular, it examines the new emphasis on peacemaking in marriage diplomacy and its competition with other, generally negative attitudes toward marriage diplomacy. The chapter first considers how theological and devotional developments in the eleventh and twelfth centuries attributed a new sanctity to marriages between former belligerents by honoring brides as types of the Virgin Mary. It then discusses Dudo of Saint-Quentin's chronicle De moribus et actis primorum Normanniæ ducum, along with another Christian encounter with non-Christian representations of marriage and desire, the courtly love tradition, with its roots in Arabic and Ovidian accounts of erotic despair. The chapter shows that, by the High Middle Ages, the ideals that would support the great marriage treaties of the fifteenth and sixteenth centuries were in place.

scholarly journals Appropriation of Symbol as Disclosure of the World of the Play in Tennessee Williams’s “The Glass Menagerie”

2013 ◽  
Vol 23 (28) ◽  
pp. 67-82
Author(s):  
Jurgita Astrauskienė ◽  
Indrė Šležaitė
Keyword(s):  
Narrative Structure ◽  
Symbolic Representation ◽  
Virgin Mary ◽  
Sacred And Profane ◽  
The World ◽  
Glass Menagerie ◽  
The Impact ◽  
The Rose ◽  
The Glass Menagerie

This paper examines the symbol as a key to understanding the world of Tennessee Williams’s play The Glass Menagerie (1945) within the frame of hermeneutics offered by Paul Ricoeur. Various conceptions of the symbol are presented, and the impact of religion upon the playwright’s drama is discussed. The interest of the authors is particularly directed towards the role of Christian symbols and their power to present, in a distinctive and irreplaceable way, the interplay of sacred and profane contexts. The Christian images inspire and shape the narrative structure of the drama. The analysis of particular symbols reveals that the playwright artistically uses Christian iconographic and liturgical implications as the symbolic pattern of the play. The spiritual meanings are evoked by the symbol of the rose, which is traditionally regarded as an emblem of the Virgin Mary, while the symbolic representation of the unicorn is associated with the Annunciation.

6. Empress of heaven and hell

2021 ◽  
pp. 99-122
Author(s):  
Mary Joan Winn Leith
Keyword(s):  
Middle Ages ◽  
Virgin Mary ◽  
Marian Devotion ◽  
High Middle Ages

‘Empress of heaven and hell’ recounts how the Virgin Mary came into her own during Europe’s High Middle Ages. Between 1150 and 1250, over 80 cathedrals and 500 churches were erected in honour of the Virgin Mary. There were a variety of factors that contributed to the explosion of Marian devotion in medieval and Renaissance spirituality. For example, Mary’s intercession with Christ acquired new urgency with a change in expectations about the soul’s fate after death. Related to this was belief in Mary’s Assumption, which is examined in light of theology and art. Mary’s place in medieval anti-Judaism is also worth considering. Historian Henry Adams’s description of medieval Marian energy carried over into the Renaissance, when Jesus’s humanity, based on Mary’s motherhood, became the touchstone for the humanist temper of the age.

In varietate concordia

Moreana ◽  
2006 ◽  
Vol 43 (Number 165) (1) ◽  
pp. 23-33
Author(s):  
Kevin Eastell
Keyword(s):  
Middle Ages ◽  
Community Identity ◽  
Greek City ◽  
Political Unity ◽  
The Reformation ◽  
Hanseatic League ◽  
Economic Collaboration ◽  
Unity In Diversity ◽  
Founding Principle ◽  
Definition Of

Beginning with the complexities involved in the definition of the modern European Community identity, the author proceeds to examine the historical dimensions of the development of Europe as a continent. The Roman and Greek antecedents are recognised and the emergence of Constantinople as a pivotal consideration is discussed. By the early 16th century, what Europe meant is explained in more comprehensive terms than those that prevail today. The unity of Christendom under the papacy is identified as germane to the political unity of Europe as a continent. The Reformation unleashed a process of disintegration and division into national and religious states that has taken centuries to begin to heal. Recognising the failure of modern European structures to secure cohesion among its member countries, the article recognises an attempt to develop unity in diversity: based on the notion of economic collaboration berween trading cities. This notion was very much a feature of the Hanseatic League of the middle-ages, and indeed a founding principle of the Greek city confederacy. History remains a potent and pertinent dimension in our understanding of Europe as a continental concept.

Sign in / Sign up

Export Citation Format

Share Document