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The Robe of Corporeality: Sensual Aspects of Medieval Representations of Crucified Christ in the Tunica Manicata

100%
Matyjaszkiewicz I.
Ikonotheka
|
2019
|
vol. 29
33-50
EN
This paper explores the iconography of the Volto Santo – a crucifix worshiped at the cathedral of Lucca, Italy, and the reception of this iconographic type in the medieval art. The aim is to investigate the role of robes covering the body of crucified Christ in the scenes of the Passion. First of all, the origins and meaning of different Christ’s garments are discussed in relation to the debates on the nature of Christ and around the Eucharist. Still, as the Volto Santo is usually dated to the 12th century and it presents Christ in the tunica manicata with the cingulum, which can be identified as a clerical costume, the meaning of Christ’s garments in the context of the Gregorian Reform, celibacy, and the concept of the third gender is also presented. Afterwards the practices of dressing the Volto Santo in the ceremonial vestments as a manifestation of its worship are analyzed. These vestments along with the altar, where the Volto Santo was presented to the faithful, are the most important elements of the iconography of the representations of the Volto Santo in the mural paintings. What draws attention in these images is the ambiguous position of Christ nailed to the cross and standing on the altar at the same time. That produces ambivalent sensual experience: the impression of uncourting Christ turns into a recognition of the particular cult object and vice versa. Moreover, the robe covering the body contributes to a fluid gender identity of the figure. It may be concluded that the robes of the crucified Christ play several roles: they cover the suffered body, they are an attribute of the ruler or priest, but above all, they manifest Christ’s corporality. The faithful confronted with these images found his or her somatic identity with Christ.
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Fragmenty dwóch tkanin z depozytu Muzeum Narodowego w Warszawie znalezionych w kolegiacie w Kruszwicy w 1960 roku

99%
Cybulska M., Orlińska-Mianowska E.
Studia Źródłoznawcze. Commentationes
|
2016
|
vol. 54
PL
Zarys treści: Autorki omawiają dwa zabytki znalezione w trakcie badań archeologicznych w Kruszwicy. Według niej jeden z nich to fragment stuły, a drugi to cingulum.Abstract: The author writes about two monuments discovered in the course of archaeological excavations in Kruszwica and claims that one is a fragment of a stole, while the other – a cingulum.
EN
This study concerns two objects discovered in 1960 in the course of excavations conducted in the collegiate church of St. Peter and St. Paul in Kruszwica. The findings in question involve embroidery in silk and metal threads on plain and incised satinum. One of the pieces of embroidery shows the figures of bishops, and the other – Latin inscriptions. An analysis of the weaving and embroidery material and techniques as well as a comparative analysis of similar objects from the same period made it possible to formulate a hypothesis about their origin and significance: the first is a fragment of a stole, and the second is a cingulum.
3
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Jak postrzegany jest kapłan Pański? Obraz celebransa na podstawie symboliki szat liturgicznych

80%
Mielnik D.
Studia Warmińskie
|
2017
|
issue 54
143-153
PL
Celem niniejszego opracowania jest ukazanie wielopłaszczyznowości symboliki szat liturgicznych ubieranych przez kapłana do sprawowania mszy świętej. Analizowana jest symbolika poszczególnych elementów stroju liturgicznego kapłana celebrującego mszę świętą w tzw. nadzwyczajnej formie rytu rzymskiego, ponieważ w rycie tym ze względu na większą ilość nakładanych elementów stroju liturgicznego zawarta jest bogatsza symbolika. Okazuje się, że symbolika poszczególnych szat liturgicznych ma wspólne podłoże znaczeniowe. Można zauważyć dwie główne płaszczyzny symboliki szat mszalnych. Pierwsza odnosi się do moralnego aspektu ludzkiego życia, gdyż wskazuje istotne charakterystyki celebransa Eucharystii. Druga zaś ma charakter chrystologiczny, ponieważ ukazuje kapłana jako „drugiego Chrystusa”, a więc tego, kto uobecnia Ofiarę Jezusa.
EN
The main purpose of this paper is finding the answer to the question of how the priest who celebrates the Holy Mass is noticed according to symbolism of liturgical vestments which he wears. The method used in these researches is analysis of liturgical vestments symbolism which is ascribed to a particular garment. Thanks to finding the meaning of liturgical vestments it is possible to point out the common symbolism. These researches rely on garments which are used during the Tridentine Mass because in this kind of liturgy there are more vestments so there is richer symbolism. On the basis of analysis it can be claimed that there are two main directions. The first one is moral direction, the second one is Christology direction.
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