著者

仲間 絢

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.68, no.2, pp.141, 2017 (Released:2019-01-02)

著者

仲間 絢

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.1, pp.113-124, 2015-06-30 (Released:2017-05-22)

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The sculptures of Furstenportal of Bamberg Cathedral are one of the representative works of the thirteenth-century German gothic portals. To understand its sculpted program, it is necessary to examine the meanings of unique motifs that remain unclarified in the previous studies, such as the gesture of Proskynesis by the Virgin Mary in the Deesis group and the Arma Christi carriers as the Virgins leading the blessed to Christ on Tympanum, or the monumental representation of female figures of Ecclesia and Synagoga. These motifs could be explained fundamentally in the theological context of bridal mysticism based on the Song of Songs and the Apocalypse. The Virgin Mary's role in Salvation as intercessor is reinforced by her feature as the supreme Bride in Incarnation. Her followers, the Virgins, Ecclesia, Synagoga and the blessed, facing the mercy throne of Bridegroom Christ, are all potential Brides to be saved. Besides the commonly accepted eschatological interpretations, this article argues that the sculpted program depicts mainly the Mystical Marriage and the Salvation of the Brides at the End of Time. In relation to the worship of Cathedral founder "the second Virgin Mary" Empress Cunigunde, her prominent virtue as the Bride of Christ could be emphasized in the main portal of Bamberg Cathedral.

著者

仲間 絢

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.63, no.2, pp.137, 2012-12-31 (Released:2017-05-22)