Vested Angels: Eucharistic Allusions in Early Netherlandish PaintingsPeeters Publishers, 1998 - 385 McNamee's detailed and well illustrated new study is about eucharistic symbolism in Early Netherlandish painting. It focuses on the pervading presence of the vested angel in this school of painting and its eucharistic significance. These angels, dressed in every possible variation of the vestments of the subministers of the traditional Solemn High Mass, are represented as serving the Christ in each episode of His life. As celebrant of the Eternal Liturgy, Christ is shown wearing "the chasuble of his flesh". The author traces the source of the symbol of the vested angel to the motif of the Eternal Liturgy (or Mass) in the Byzantine tradition. Here Christ is represented at an altar wearing the phelonion or eastern equivalent of a chasuble, and being assisted by angels dressed in orarions, the eastern equivalent of the dalmatic, the vestment of deacons and subdeacons at the traditional Solemn High Mass in the West. Another more immediate source is the long tradition of the Latin liturgical dramas, in which the directives frequently prescribe that the angels in the plays be dressed in some variation of vestments of the traditional Solemn High Mass in the West. The history of the vested angel is traced through numerous paintings representing scenes from the life of Christ: from the Annunciation through the Last Judgement. The theological basis of this study is offered in a discussion of Maurice de la Taille's Mysterium Fidei, a theory of Mass that best parallels the concept of Eucharistic symbolism in Early Netherlandish painting. The author provides clarifying new insights into the paintings he analyses, such as The Adoration of the Lamb, by Jan van Eyck and the Beaune Last Judgement by Rogier van der Weyden. Colour illustrations and over a hundred photographs of the original paintings help the reader to follow this fascinating analysis. |
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Spis treści
Two Early Netherlandish Paintings with Explicit Eucharistic | 19 |
The Origin of the Vested Angel as a Eucharistic Symbol | 43 |
Immediate Theological Background of the Eucharistic Motif | 61 |
Eucharistic Import of the Seilern Triptych | 73 |
The Ghent Altarpiece or The Adoration of the Lamb a Visual | 87 |
Eucharistic Allusions in Annunciation Scenes | 119 |
Eucharistic Symbols in Nativity Scenes | 141 |
Eucharistic Allusions in Epiphany Scenes | 159 |
Weyden | 181 |
Conclusion | 201 |
Appendix A Liturgical Vestments and Accounterments | 209 |
Appendix B Color Symbolism | 229 |
List of Illustrations | 251 |
Figures | 261 |
Plates | 375 |
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Kluczowe wyrazy i wyrażenia
A.C.L. photo Adoration Alinari photo altar amice and alb Annunciation Apostles Art Bulletin artist Beaune Beaux-Arts Blessed Sacrament Blessed Virgin blood of Christ body and blood bread and wine Brussels Byzantine celebrant century ceremony chalice chapel chasuble Christ Child Church Communion consecration cope Covenant Cross dalmatic deacon death detail Dirk Bouts Early Netherlandish painting Epiphany Eternal Liturgy Eternal Mass eucharistic eucharistic allusions eucharistic symbol faithful figure of Christ Flémalle garbed Ghent Hans Memling heaven Heavenly Father Holy Spirit Host iconography Incarnation Jan van Eyck kneeling Lamb Last Judgment Last Supper Latin liturgical left panel liturgical drama liturgical vestments Magi Mary medieval Memling Mérode Altarpiece Missa Aurea motif Musée Museum photo Nativity offertory painters Panofsky Paris polyptych Portinari Altarpiece prayer Primitifs Flamands represented resurrection Robert Campin Rogier sacrificial offering Saint scene Solemn High Mass stole suggested Taille theological tomb tradition Triptych vested angels vestments vestments of subministers wearing Weyden worn
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