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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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초록· 키워드
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Beginning in the year 1502, Albrecht Durer produced twenty woodcuts representing the life of the Virgin, and published them as a codex titled Marienleben in 1511. The artist commissioned Benedictine monk Benedictus Chelinodnius (ne SChwalbe) to compose the verses for the scenes of the Marienleben, and had them printed on the versos of each folio. Durer dedicated the book Marienleben to Caritas Pirckheimer, abbess of the Franciscan convent of St. Clara in Nuremberg and older sister of the artist’s friend, Wilibald Pirckheimer. The artist’s dedicatory intention is not known and has been hardly discussed by scholars.
This essay argues that Durer programmed the Marienleben as a meditative manual for the Franciscan nuns of St. Clara and was assessing its possibility of success with the dedication to abbess Caritas, which meant, to the nuns under her spiritual care. Durer’s Marienleben aimed to promote the visual imagination and empathy on the part of its readers, so that they could further build up their own meditative imagery and attain spiritual benefits in it. Nuns of St. Clara convent had been practicing such visually oriented meditation since the late Middle Ages, especially with the appointment of Father Stephan Fridolin as its lector and confessor, and were already familiar with a similar methodology expounded in Pseudo-Bonaventure’s Meditationes Vitae Christi.
It is very surprising that Durer, whose deep sympathy with Martin Luther’s cause is well known, could create a visual narrative of Mary’s life conforming so closely to the tradition and dogma of the Catholic Church. Its content as well as meditative strategies reflect the devotional practices of the Church such as the rosary, divine offices, and meditative envisioning. Even though Durer’s Marienleben has been discussed by art historians primarily in terms of linear perspective and spatial construction, it should be noted with full recognition that the cycle preserved and further developed the traditional meditative methodology throughout the 16th century and passed it down to the era of the Counter-Reformation.
This essay argues that Durer programmed the Marienleben as a meditative manual for the Franciscan nuns of St. Clara and was assessing its possibility of success with the dedication to abbess Caritas, which meant, to the nuns under her spiritual care. Durer’s Marienleben aimed to promote the visual imagination and empathy on the part of its readers, so that they could further build up their own meditative imagery and attain spiritual benefits in it. Nuns of St. Clara convent had been practicing such visually oriented meditation since the late Middle Ages, especially with the appointment of Father Stephan Fridolin as its lector and confessor, and were already familiar with a similar methodology expounded in Pseudo-Bonaventure’s Meditationes Vitae Christi.
It is very surprising that Durer, whose deep sympathy with Martin Luther’s cause is well known, could create a visual narrative of Mary’s life conforming so closely to the tradition and dogma of the Catholic Church. Its content as well as meditative strategies reflect the devotional practices of the Church such as the rosary, divine offices, and meditative envisioning. Even though Durer’s Marienleben has been discussed by art historians primarily in terms of linear perspective and spatial construction, it should be noted with full recognition that the cycle preserved and further developed the traditional meditative methodology throughout the 16th century and passed it down to the era of the Counter-Reformation.
목차
서론
Ⅰ. 성 클라라 수녀원
Ⅱ. 수녀들의 시각문화와 명상수행
Ⅲ. 쉬테판 프리돌린과 명상방법론
Ⅳ. 그림 속의 공간에서 명상하기
결론
참고문헌
Abstract
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