Naslov
Iconographic type: Mary with arms raised in front of her chest - a gesture of intercession
(Ikonografski tip: Marija s rukama podignutim pred prsima - gesta zagrovora)

Autori
Matetić Poljak, Daniela

Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni

Skup
Tenth International Conference of Iconographic Studies, Marian Iconography East and West

Mjesto i datum
Rijeka, Hrvatska, 02.06.2016. - 04.06.2016

Vrsta sudjelovanja
Predavanje

Vrsta recenzije
Podatak o recenziji nije dostupan

Ključne riječi
ikonografija ; Marija ; Crkvina Biskupija kod Knina ; Antiphonary G Monastery of St Francis in Zadar
(iconography ; Mary ; Crkvina Biskupija near Knin ; antifonar G Samostan sv. Frane u Zadru)

Sažetak
The role of Mary as the main intercessor for mankind is expressed in iconography by coded gestures of intercession. Separate iconographic types expressing Mary's intercession develop in the post-iconoclastic period by extraction from narrative scenes. They become bearers of a separate symbolic content. Some of them became popular owing to the cult of miraculous icons developed around these types (such as Blacherniotisse or Hagiosoritisse). From Byzantium they spread onto regions of its influence. Although Dalmatia would be expected to have a significant number of preserved works representing different iconographic types of Mary's intercession, there is only one – the representation of Mary with arms raised in front of her chest and palms facing the viewer. This is a very common type that gained its greatest popularity in Byzantium (and regions under its influence) between the 10th and 12th century (lasting however, even longer). In spite of it being widely present, its title hasn't been recorded, and it is given only by description. A number of them (including western variants, as well) prove that this gesture was widely accepted and understandable to the worshipper. However, today it is difficult to understand its more precise meaning. Along with the general symbolism of Mary's intercession, the gesture is brought in relation with Mary's obedience - a new Eve, to God's will and its role in the economy of Salvation. Two depictions of this type have been preserved in Dalmatia: one is on the altar screen pediment of the Early Romanesque Church at Crkvina in Biskupija near Knin (produced by the Knin Romanesque workshop in the last quarter of the 11th century), and the other on the initial on foil 207 of the Antiphonary G in the library of the Monastery of St Francis in Zadar (dated to the end of the 13th century, made by an unknown miniaturist, presumably in Zadar). Although produced in different techniques and carried out under different historic circumstances, they prove that the Byzantine iconographic type was adapted in terms of context and content in order to respond to requirements of Latin piety. The representation of Mary on the central altar screen pediment that overtops the entrance to the presbytery, at a symbolic level becomes the analogy of the Virgin Mary that stands at the entrance to Christ’s Kingdom. The inscription that runs along the altar screen trabeation in which adapted patterns of prayers honoring Mary, and a revised prayer to the glory of Christ, the Lord and Savior of the world, have been recognized, emphasize that our iconographic type is clearly related to the importance of her intercession and her role in Salvation. A similar content is also conveyed by the miniature in the antiphonary. It represents Mary crowned standing in front of the throne. By introducing the crown as an attribute, the representation is brought in relation with acclamations that antiphons of the Roman Ritual Ave Regina Caelorum and Regina caeli address to Mary glorifying her. She is the celestial queen whose intercession with the Son is significant. On both representations the gesture along with the intercession expresses Mary's meekness and obedience earning Salvation of humanity.

Izvorni jezik
Engleski

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