里昂圣尼济尔的圣玛丽亚·西特拉·蒙特斯的形象:教会空间构成在邪教组织中的作用

N. Reveyron
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引用次数: 0

摘要

根据在里昂出席里昂大公会议的英诺森四世的诏书,“阿尔卑斯山这边的圣母”的形象是由该市的第一任主教圣波辛带到卢格杜努姆的。什么样的形象?还有一座晚期的雕像,在宗教战争期间被隐藏起来,然后在19世纪在地窖附近被发现,还有一个楔石(在15世纪)可能代表了这个形象。14 -15世纪的参观记录清楚地描述了神殿的空间组织,考古学表明它自中世纪以来就没有被修改过:十字路口的地窖,地窖上的祭坛(以古基督教的方式),主祭坛,六世纪主教的坟墓,以及后殿底部的圣母像。这个形象既是一个崇拜的对象,也是一个治疗朝圣的对象。在宗教战争的破坏之后,雕像被移到了耳堂的南侧,成为了恩典圣母兄弟会的崇拜形象。空间组织的剧变意义重大:失去了与里昂早期教堂的历史关系,重新关注兄弟会的生活,但首要考虑的是不被封闭在自治教堂内的形象,但仍然与圣所空间直接相关
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L’image de Santa Maria citra Montes à Saint-Nizier de Lyon : le rôle de la composition de l’espace ecclésial dans l’organisation d’un culte
According to a bull of Innocent IV, present in Lyons for the Ecumenical Council of Lyons, the image of «Our Lady on this side of the Alps» was brought to Lugdunum by Saint Pothin, the first bishop of the city. What kind of image? There is still a late statue, hidden during the religious wars, then found near the crypt in the 19th century, and a keystone (during the 15thcentury) probably representing this image. Minutes of the visit of the 14th-15th century clearly describe the organisation of the space of the shrine whose archaeology has shown that it had not been modified since the High Middle Ages: crypt at the crossroads, altar on the crypt (in the Paleo-Christian way), the main altar, the tombs of the bishops of the sixth century and, at the bottom of the apse, the image of the Virgin. This image was both an object of worship and the object of a pilgrimage of healing. After the destruction of the religious wars, the statue was moved to the south arm of the transept and became the cult image of the Brotherhood of Our Lady of Grace. The upheaval of the spatial organisation is heavy with meaning: loss of relationship with the history of the early Church of Lyon and refocusing on the life of the brotherhoods, but with a primacy given to the image which is not enclosed in an autonomous chapel, but remains directly related to the sanctuary space
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