Cecilia Hildeman Sjolin

Utgangspunkten for denna behandling av Kristofferbilden ar dess mellanstallning, mellan representationsbild i Panofskys betydelse och legendserie, dess visande av en handling i en enda bild, och att grtaden av handling i bilden tycks skifta mellan olika perioder. Jag uppfattar handlingen som ett attribut, och soker utforska hur det blivit sa, och varfor just i detta fall. Eftersom handlingen i sig har en framskjuten position verkade det rimlig att undersoka berattelsen. Och med berattelsen maste bade bilder och de verbala berattelser, som finns tillgangliga, dvs bevarade, tas med i berakningen. Litteraturen hanvisar for den verbala legenden i allmanhet till Legenda Aurea.Det har dock visat sig att bilderna narmare interagerar med nagra tyska, folksprakliga textversioner, hos Rosenfeld benamnda A,B och C. Bilden har visat sig interagera relativt nara med dessa, sa att texten inte bara fungerar som kalla for en illustration, utan ocksa som mottagare av impulser till den berattelse - i ord och bild - som byggs upp under senmedeltidens lopp och aven anvands inom den lutherska kyrkans bildvarld. (Less)

The present paper is a comparative study, concerning the birth of Christ as described in pictorial and verbal narrative. These are represented by Scandinavian wall-paintings on the one hand and the Legenda Aurea (LA) c. 1264, Meditationes Vitae Christi (MVChr) c 1300, and the Revelations of S Bridget (RSB) c 1370, on the other.It takes its departure in the Romanesque picture of the Christchild in the manger and Mary watching over her child, showing the event after the fact. LA and MvChr are the examined in relation to the pictorial tradition. Whereas LA shows a very slight correspondence to this (if any), MVChr seems to a certain extent to interact with it in iconographical detail, while in aim and mentality it corresponds e g to the remarkably everyday scenes of Bronnestad (Scania, c 1440). In the RSB different phases of the events of the birth of Christ are described, while the pictures of the 15th century move their scope closer to a description of the dramatic moment, while retaining and expressing meaning on different levels. The paintings of Undlose (Sealand c 1426) and Husby-Sjutolft (Uppland c 1480) show the moments after the birth as seen through the eyes of S Bridget. Through the manger/altar of Elmelunde (Mon c 1500) and the church in the birth-scene of Skivholme (Jutland, shortly after 1500) the pictures are invested with eucharistic implications, and the kneeling Mary becomes an example to Man in her veneration of Christ. Through juxtaposing the birth of Christ with Mary as Mater Dolorosa, the picture in Skivholme also implies a later train of events in Mary's life as the Mother of Christ. (Less)

Inom konsthistoria och visuella studier, liksom vid manga andra amnen, har examinationsformerna andrats under det senaste decenniet. Fran att ha arbetat med uteslutande salsskrivningar pa grundkurserna har vi overgatt till att huvudsakligen arbeta med hemskrivningar. Dessa kompletteras med grupparbeten och muntliga prestationer som ar obligatoriska, men hemskrivningarna bestammer betyget. Bytet av examinationsform har inneburit stora fordelar, men har ocksa medfort nya problem. Da vi tidigare hade den ganska latthanterade uppgiften for att forhindra fusk vid salsskrivningar, fick vi med hemskrivningarna problem med otillatet samarbete och plagiat.

The subject of the thesis is the narratives in medieval mural paintings in southern Scandinavia c 1100-1530. Its aim is to examine their relationship to texts, to the viewer and to the church space, where the viewer looks at the murals. Two different subjects have been chosen for study: S Christopher and the Nativity of Christ. From the corpus of preserved mural paintings with these subjects in southern Scandinavia a selection of monuments has been put to closer study. The dissertation consists, after a review of previous research (1), of four main chapters, focusing on: 2. The S Christopher image, its temporal aspects and its relationship to the verbal narrative and to the church space. 3. The Nativity scene and its relationship to the narrative and its temporal aspects. 4. The pictorial sequence of the Nativity story and the interrelationship of its different scenes, the sequence and the church space. The finishing chapter (5) focuses on the relationship between the pictures, the church space, its function and the worshippers. The S Christopher images have played a very active part in the development of the saint's legend. The pictures develop from an imago-like representation to a historia in the form of a scene with implied action. In a similar way the Nativity scene develops from a representation without much implied action, and later becomes more closely related to time and change - something that partly changes its meaning. Most of the Nativity scenes are part of pictorial sequences, with an entirely chronological arrangement or with a more or less typological one. The meaning and content of the sequences are influenced by their combination of scenes in a spatial structure, and also by their placing in the church interior. The position of the mural paintings on the walls and vaults and in the different parts of the church interior gives them varying accessibility for the worshippers and the clergy, and different relationship to the centres of the room, such as the altar(s), the font, the entrance, the screen etc. The pictorial surfaces are also to different degrees subordinate to the existing surfaces and boundaries, which become an important factor in the arrangement of the mural paintings.

Inom konsthistoria och visuella studier, liksom vid manga andra amnen, har examinationsformerna andrats under det senaste decenniet. Fran att ha arbetat med uteslutande salsskrivningar pa grundkurserna har vi overgatt till att huvudsakligen arbeta med hemskrivningar. Dessa kompletteras med grupparbeten och muntliga prestationer som ar obligatoriska, men hemskrivningarna bestammer betyget. Bytet av examinationsform har inneburit stora fordelar, men har ocksa medfort nya problem. Da vi tidigare hade den ganska latthanterade uppgiften for att forhindra fusk vid salsskrivningar, fick vi med hemskrivningarna problem med otillatet samarbete och plagiat.

Utgangspunkten for denna behandling av Kristofferbilden ar dess mellanstallning, mellan representationsbild i Panofskys betydelse och legendserie, dess visande av en handling i en enda bild, och att grtaden av handling i bilden tycks skifta mellan olika perioder. Jag uppfattar handlingen som ett attribut, och soker utforska hur det blivit sa, och varfor just i detta fall. Eftersom handlingen i sig har en framskjuten position verkade det rimlig att undersoka berattelsen. Och med berattelsen maste bade bilder och de verbala berattelser, som finns tillgangliga, dvs bevarade, tas med i berakningen. Litteraturen hanvisar for den verbala legenden i allmanhet till Legenda Aurea.Det har dock visat sig att bilderna narmare interagerar med nagra tyska, folksprakliga textversioner, hos Rosenfeld benamnda A,B och C. Bilden har visat sig interagera relativt nara med dessa, sa att texten inte bara fungerar som kalla for en illustration, utan ocksa som mottagare av impulser till den berattelse - i...

The subject of the thesis is the narratives in medieval mural paintings in southern Scandinavia c 1100-1530. Its aim is to examine their relationship to texts, to the viewer and to the church space, where the viewer looks at the murals. Two different subjects have been chosen for study: S Christopher and the Nativity of Christ. From the corpus of preserved mural paintings with these subjects in southern Scandinavia a selection of monuments has been put to closer study. The dissertation consists, after a review of previous research (1), of four main chapters, focusing on: 2. The S Christopher image, its temporal aspects and its relationship to the verbal narrative and to the church space. 3. The Nativity scene and its relationship to the narrative and its temporal aspects. 4. The pictorial sequence of the Nativity story and the interrelationship of its different scenes, the sequence and the church space. The finishing chapter (5) focuses on the relationship between the pictures, the ...

The present paper is a comparative study, concerning the birth of Christ as described in pictorial and verbal narrative. These are represented by Scandinavian wall-paintings on the one hand and the Legenda Aurea (LA) c. 1264, Meditationes Vitae Christi (MVChr) c 1300, and the Revelations of S Bridget (RSB) c 1370, on the other.It takes its departure in the Romanesque picture of the Christchild in the manger and Mary watching over her child, showing the event after the fact. LA and MvChr are the examined in relation to the pictorial tradition. Whereas LA shows a very slight correspondence to this (if any), MVChr seems to a certain extent to interact with it in iconographical detail, while in aim and mentality it corresponds e g to the remarkably everyday scenes of Bronnestad (Scania, c 1440). In the RSB different phases of the events of the birth of Christ are described, while the pictures of the 15th century move their scope closer to a description of the dramatic moment, while reta...

Across the border. Aspects of liminality in the mural paintings of two Scanian churchesBy Cecilia Hildeman Sjolin The present text is concerned with the crossing of borders of sacred space, through doorways in an actual sense and through fictional/representational space in the vaults, as acts of seeing, which is then regarded in the context of medieval optics, which argue that sight includes touch and communication in a physical sense. The key concepts are: action, border crossing and transformation. Through the crossing of borders in an action relating to images, a transformation of the individual is intended. The examples chosen are the late medieval mural decorations of Ostra Herrestad and Brunnby. The images unite with the architectural space and the worshippers and their (ritual) actions in creating and defining consecrated, sacred space. Through the image of the Expulsion from Paradise immediately above the doorway in the western vault of the nave of Ostra Herrestad church, th...

63 1 Att skapa en röd tråd: kontinuitet genom kontrakt. Grupparbete som terminsprojekt Cecilia Hildeman Sjölin, Björn Fritz, Måns Holst-Ekström, Avdelningen för konsthistoria och visuella studier Vad? Vårt ämne är ett grupparbetsprojekt, som vi under det gångna läsåret ...