Jeffrey F. Hamburger, Diagramming Devotion: Berthold of Nuremberg’s Transformation of Hrabanus Maurus’s Poems in Praise of the Cross. Chicago; London, The University of Chicago Press, 2020
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引用次数: 0
Abstract
The case study is presented in the title: Hrabanus Maurus’s (ca. 780-856) In honorem sanctae crucis (ca. 810) and Berthold of Nuremberg’s two-part work Liber de misteriis et laudibus sancta crucis (1292) and the supplement Liber de misteriis et laudibus interemerate Virginis genitrices Dei et Domini nostril Ihesu (1294)) are confronted and dissected; and the use of the word “transformation” is key to the analytical and interpretive possibilities concerning the medieval formulas the author presents (both textual and imagetic). Close to five hundred years separate the carmina figurata of the Carolingian abbot and the text-images of the Dominican lector and both follow on antique traditions. With more than two hundred pictures of diagrams and illuminations from a multitude of codices, architectural details and religious objects, Hamburger furnishes our understanding of transformation in medieval visual cultures (largely beyond Hranabus and Berthold’s) and of the centrality of diagrams in artistic productions.
案例研究在标题中介绍:Hrabanus Maurus(约780-856年)在《神圣的十字架》(约810年)和Berthold的纽伦堡分为两部分的作品《自由的misteriis et laudibus神圣的十字架(1292年)》和《自由的misteriis and laudibus interemerate Virginis gentrices Dei et Domini-nortril Ihesu》(1294年)被直面和剖析;“转换”一词的使用是作者提出的中世纪公式(文本和图像)的分析和解释可能性的关键。加洛林修道院院长的卡米娜雕像和多明尼加演讲人的文字图像相隔近500年,两者都遵循着古老的传统。Hamburger有200多张来自大量法典、建筑细节和宗教物品的图表和照明图片,为我们理解中世纪视觉文化的转变(很大程度上超越了Hranbus和Berthold的)以及图表在艺术作品中的中心地位提供了帮助。