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Chapter 1 : Mary’s Iconography appeard from the early Christian Age, and it occupied a very important position in the Art History of the 13th and 14th century of Italy as Mary’s iconography became numberless and big as the altar painting.
The posture of Mary with Child drawn in the first half of 13th century looked firm(rigid) and upright under the influence of Byzantine. The symbolic image as the son of God was regarded as of great importance, while the posture of Mary with Child in the second half of the 13th century seemed to be natural and familiar to people. In the early 14th century, the image of Mary with Child looked like an ordinary mother and child representing human emotion.
We have wondered why so many works of Mary’s iconography had been drawn in so short a time and why the Mary’s image had the stylistic change. This thesis tried to research the patron’s intention, the size of the work, the creative process of the transformed iconography and the place of its establishment so that we can clarify the problem of that time and the meaning of the change of Mary’s iconography in connection with social and religious roles.
Chapter Ⅱ : Surveys some patterns of Mary’s iconography such as Nicopoios(Victory Maker), Eleousa(woman of pity) and some examples of Byzantine. In Nicopoios iconography, Mary was described as a tool in order to represent the Jesu’s incarnation. The Eleousa’s iconography represent the Jesu’s death as a transformation of Hodegetria(Woman who indicate the way). Those of Italy however show not only the meanings but also some other things.
From the latter part of 13th century through 14th century, the image of Mary had been developed into a large scale for altar and it no longer represented Jesu’s incarnation or death. It became an object of independent faith. This kind of development was shown centering on Siena.
At this period a new Mary’s iconography was also appeared, such as ‘Maria della
Umita’, ‘Maria Lattante’ and ‘Maria della Misericordia’ etc.. This paper surveys the production process of the iconography and the religious background and its meaning through the 13th and 14th century literature.
Many kinds of Mary’s iconography however were painted in order to symbolize the Mary who has a role of intercessor. Mary as an intercessor had no particulary fixed iconography but it had some roles of faith in that society. When the human-centered thought began to develop, people wanted to approach a human-like God rather than that of almighty God shown in the Romanesque age of the 12th century. They wanted to get this kind of image from Mary.
The posture of Mary with Child drawn in the first half of 13th century looked firm(rigid) and upright under the influence of Byzantine. The symbolic image as the son of God was regarded as of great importance, while the posture of Mary with Child in the second half of the 13th century seemed to be natural and familiar to people. In the early 14th century, the image of Mary with Child looked like an ordinary mother and child representing human emotion.
We have wondered why so many works of Mary’s iconography had been drawn in so short a time and why the Mary’s image had the stylistic change. This thesis tried to research the patron’s intention, the size of the work, the creative process of the transformed iconography and the place of its establishment so that we can clarify the problem of that time and the meaning of the change of Mary’s iconography in connection with social and religious roles.
Chapter Ⅱ : Surveys some patterns of Mary’s iconography such as Nicopoios(Victory Maker), Eleousa(woman of pity) and some examples of Byzantine. In Nicopoios iconography, Mary was described as a tool in order to represent the Jesu’s incarnation. The Eleousa’s iconography represent the Jesu’s death as a transformation of Hodegetria(Woman who indicate the way). Those of Italy however show not only the meanings but also some other things.
From the latter part of 13th century through 14th century, the image of Mary had been developed into a large scale for altar and it no longer represented Jesu’s incarnation or death. It became an object of independent faith. This kind of development was shown centering on Siena.
At this period a new Mary’s iconography was also appeared, such as ‘Maria della
Umita’, ‘Maria Lattante’ and ‘Maria della Misericordia’ etc.. This paper surveys the production process of the iconography and the religious background and its meaning through the 13th and 14th century literature.
Many kinds of Mary’s iconography however were painted in order to symbolize the Mary who has a role of intercessor. Mary as an intercessor had no particulary fixed iconography but it had some roles of faith in that society. When the human-centered thought began to develop, people wanted to approach a human-like God rather than that of almighty God shown in the Romanesque age of the 12th century. They wanted to get this kind of image from Mary.
목차
Ⅰ. 문제 제기
Ⅱ. 비잔틴의 마리아 도상과 13세기 중엽 이탈리아에의 유입
Ⅲ. 이탈리아 마리아상의 발전(13세기 3/4분기~14세기 초)
Ⅳ. 결론 : 중개자(Mediatrice, Intercessor) 역할의 마리아
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-609-017288940