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This paper examines the meaning and function of St. Ursula Shrine (1489), painted by Hans Memling (c. 1440-1494) and placed in the Sint-Jans Hospital in Bruges.
St. Ursula Shrine follows the convention of mediaeval church relic shrines in its overall features. However, unlike many other shrines with jewels and relief decorations on the sides, it is covered with religious scenes painted in 15th century artistic style. It is therefore unique in that it combines the characters of medieval relic shrines with the tradition of devotional images. Studies on Memling’s shrine, however, have been so far only concerned with the pictures on it. No discussion has been made on its original functions or significances as a relic shrine, in other words, in the religious and cultural contexts of 15th century Northern Europe.
The main subject of the scenes painted on St. Ursula Shrine is Saint Ursula and her 11,000 companions. These virgin martyrs became popular when numerous bodies were found at Cologne and believed to be the holy remains of Saint Ursula and her companions in the early 12th century. Relic cult was based on the belief that the martyrs play an intermediate role between Christians and God. It could thus be said that St. Ursula Shrine was made in order to contain and protect the holy relics, that is, sources of intercessory power. Pictures on the shrine represent the virgin martyrs and the Virgin Mary as intercessors between heaven and earth. This idea is among others emphasized by the shape of the shrine, i.e. a church building. The shrine holds the holy relics that were believed to guide the worshippers to heaven, just as the church leads the laymen to God. St. Ursula Shrine thus conveys the concepts of salvation and redemption with the aid of intercessors, who are then here portrayed on the church-shaped shrine as the symbol of ‘Heavenly Jerusalem’.
Placed in a hospital where spiritual healing used to be stressed over physical recovery, St. Ursula Shrine could have been associated with the concept of salvation. The patients should have been yearning for the salvation of their souls and a peaceful death, not to mention their wishes for a miraculous cure of their grave illness. St. Ursula Shrine must have been meant to give hopes to these people.
In addition to this, the Christians also believed that the massive number of 11,000 virgin martyrs could have a much greater effect in working miracles, since the Church laid the emphasis on the strong effect of ‘collective intercession’ at the end of the middle ages. This would also explain why the Virgin Mary and the virgin martyrs are represented together. They were furthermore the role models for the nuns who appear as patrons on Memling’s shrine.
St. Ursula Shrine has, as already mentioned, painted panels. This unusual form seems to reflect the needs of a specific audience in the hospital. For the narrative scenes on the sides seem to lay emphasis on the pilgrimage itself. And this could be supported by visual devices such as the simultaneous representation, the motifs of winding roads and archways, and the topographically correct representation of sacred sites. The scenes together could thus lead the viewers onto a visual and mental journey to other pilgrimage centers like Cologne or Rome. And finally, St. Ursula Shrine, as a physical object, could have asked the viewers to move around it and to follow the pilgrimage of the saints mentally as well as physically. In this way, Memling’s shrine should have given a chance to nuns and patients to experience an imaginative pilgrimage, who did not actually have the possibility to undertake a journey. Hence, it could be said that St. Ursula shrine was connected to the spiritual pilgrimage that became very popular at the end of the 15<SUP>th</SUP> century.
St. Ursula Shrine follows the convention of mediaeval church relic shrines in its overall features. However, unlike many other shrines with jewels and relief decorations on the sides, it is covered with religious scenes painted in 15th century artistic style. It is therefore unique in that it combines the characters of medieval relic shrines with the tradition of devotional images. Studies on Memling’s shrine, however, have been so far only concerned with the pictures on it. No discussion has been made on its original functions or significances as a relic shrine, in other words, in the religious and cultural contexts of 15th century Northern Europe.
The main subject of the scenes painted on St. Ursula Shrine is Saint Ursula and her 11,000 companions. These virgin martyrs became popular when numerous bodies were found at Cologne and believed to be the holy remains of Saint Ursula and her companions in the early 12th century. Relic cult was based on the belief that the martyrs play an intermediate role between Christians and God. It could thus be said that St. Ursula Shrine was made in order to contain and protect the holy relics, that is, sources of intercessory power. Pictures on the shrine represent the virgin martyrs and the Virgin Mary as intercessors between heaven and earth. This idea is among others emphasized by the shape of the shrine, i.e. a church building. The shrine holds the holy relics that were believed to guide the worshippers to heaven, just as the church leads the laymen to God. St. Ursula Shrine thus conveys the concepts of salvation and redemption with the aid of intercessors, who are then here portrayed on the church-shaped shrine as the symbol of ‘Heavenly Jerusalem’.
Placed in a hospital where spiritual healing used to be stressed over physical recovery, St. Ursula Shrine could have been associated with the concept of salvation. The patients should have been yearning for the salvation of their souls and a peaceful death, not to mention their wishes for a miraculous cure of their grave illness. St. Ursula Shrine must have been meant to give hopes to these people.
In addition to this, the Christians also believed that the massive number of 11,000 virgin martyrs could have a much greater effect in working miracles, since the Church laid the emphasis on the strong effect of ‘collective intercession’ at the end of the middle ages. This would also explain why the Virgin Mary and the virgin martyrs are represented together. They were furthermore the role models for the nuns who appear as patrons on Memling’s shrine.
St. Ursula Shrine has, as already mentioned, painted panels. This unusual form seems to reflect the needs of a specific audience in the hospital. For the narrative scenes on the sides seem to lay emphasis on the pilgrimage itself. And this could be supported by visual devices such as the simultaneous representation, the motifs of winding roads and archways, and the topographically correct representation of sacred sites. The scenes together could thus lead the viewers onto a visual and mental journey to other pilgrimage centers like Cologne or Rome. And finally, St. Ursula Shrine, as a physical object, could have asked the viewers to move around it and to follow the pilgrimage of the saints mentally as well as physically. In this way, Memling’s shrine should have given a chance to nuns and patients to experience an imaginative pilgrimage, who did not actually have the possibility to undertake a journey. Hence, it could be said that St. Ursula shrine was connected to the spiritual pilgrimage that became very popular at the end of the 15<SUP>th</SUP> century.
목차
Ⅰ. 머리말
Ⅱ. 〈우르술라 성유골함〉의 의미 분석
Ⅲ. 〈우르술라 성유골함〉의 사용과 기능
Ⅳ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2009-609-018806308