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1

Fantasy or a Transcendent Experience? Study of the Painting Ascent into Heaven by Jheronimus Bosch from the Palazzo Ducale in Venice

100%
Kubies G.
Roczniki Humanistyczne
|
2018
|
vol. 66
|
issue 4: Historia sztuki - Selected Papers in English
87-120
EN
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 63 (2015), issue 4. The painting Ascent into Heaven (88.8 x 39.9 cm; dendrological dating: 1482–1490) kept in the Palazzo Ducale in Venice is one of the four eschatological panels (the other three are: Earthly Paradise, Fall of the Damned, Hell) which probably were in the collection of the Venetian Cardinal Domenico Grimani in the 1520s. The panels’ original arrangement and function are unknown. The paintings are not signed and their attribution to Jheronimus Bosch (c. 1450–1516 ) is based largely on the grounds of stylistic criteria. In the study, I put Ascent into Heaven into two fundamental contexts for the iconographic analysis of this work: eschatological literature and Netherlandish/ Flemish painting and in the context of near-death experiences (NDE) as well. The answer to the question posed in the title of the study must remain twofold. On the basis of the data gathered in the study, the content of the painting can be comprehended by references to the most frequently quoted sources of inspiration for Bosch: one painting by Dieric Bouts (left wing of the Last Judgement Altarpiece; Lille, Palais des Beaux Arts), two illuminations by Simon Marmion (Le livre des sept Ages du monde; Brussels, Bibliothèque royale de Belgique, Ms. 9047, fols. IV & 12r) and a literary work Dat rike der ghelieven by Jan van Ruusbroec. Its content can be equally understood by reference to the role of the painter’s imagination (categories of inventio and fantasia), using his theological and astronomical knowledge. The above line of interpretation that emphasizes the influence of biblical logosphere, takes into account undeniable religious experience of the painter from ‘s-Hertogenbosch resulting from being a member of the Church. The factor of an epistemological importance which influences the form of the answer to the title question is hypothetical non-verifiable Bosch’s personal transcendental experience, thus it becomes impossible to evaluate the translation of what is spiritual (experience) into visual (image). Due to the elusive, not fully scientific nature of NDE this phenomenon should be excluded from the final conclusion.
2
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Eschatologie a spása v bohemikálních sporech duše s tělem

67%
Soukupová V.
Česká literatura (Czech Literature)
|
2023
|
vol. 71
|
issue 2
145-176
EN
The paper provides an analysis of eschatological themes in medieval debates between body and soul related to the Kingdom of Bohemia. The oldest poem (after 1320) emphasizes the particular judgment as the dominant eschatological horizon, probably under the influence of the Processus Sathanae. The old Czech translation of Visio Philiberti (ca. 1370) seems to avoid the description of physically conceived pain of a separated soul and stresses the absence of God as the worst punishment. The third old Czech debate (end of the 14th c.) underlines the loving bond between human composites, further accentuated in a contemporary Latin prose debate between body and soul by the archbishop of Prague John of Jenstein in his Liber dialogorum.
3

Fantazmat czy doświadczenie rzeczywistości pozahistorycznej? Studium obrazu Wniebowzięcie zbawionych Jheronimusa Boscha z Palazzo Ducale w Wenecji

67%
Kubies G.
Roczniki Humanistyczne
|
2015
|
vol. 63
|
issue 4: Historia Sztuki
5-37
PL
Tablica Wniebowzięcie zbawionych (88.8 x 39.9 cm; datacja dendrologiczna: 1482-1490) przechowywana w Palazzo Ducale w Wenecji, jest jedną z czterech tablic o tematyce eschatologicznej (pozostałe to: Raj ziemski, Upadek potępionych, Piekło), które prawdopodobnie w latach dwudziestych XVI wieku znajdowały się w zbiorach weneckiego kardynała Domenica Grimaniego. Tablice (oryginalny układ i funkcja pozostają nieznane) nie są sygnowane, a ich atrybucja Jheronimusowi Boschowi (ok. 1450-1516) zasadza się w głównej mierze na gruncie stylistycznym. W niniejszym studium Wniebowzięcie zbawionych jest sytuowane przede wszystkim w dwóch fundamentalnych dla badań ikonograficznych tego dzieła kontekstach: piśmiennictwa eschatologicznego i malarstwa niderlandzkiego/ flamandzkiego oraz w kontekście doświadczeń z pogranicza śmierci (near-death experiences - NDE). Odpowiedź na pytanie, czy wizja Jheronimusa Boscha jest fantazmatem, innymi słowy: imaginacją religijną, czy stoi za nią doświadczenie rzeczywistości pozahistorycznej, jest w istocie dwoista. Na podstawie danych przywołanych w studium, daje się uzasadnić treść obrazu z Palazzo Ducale poprzez odniesienie do najczęściej przytaczanych w literaturze przedmiotu źródeł inspiracji jego autora: obrazu Dierica Boutsa (lewe skrzydło Ołtarza Sądu Ostatecznego; Lille, Palais des Beaux Arts), iluminacji Simona Marmiona (Le livre des sept âges du monde; Bruksela, Bibliothèque royale de Belgique, Ms. 9047, fol. 12r) i piśmiennictwa Jana van Ruysbroeck (Dat rike der ghelieven). Jego treść daje się w równym stopniu uchwycić poprzez odwołanie się do roli wyobraźni artysty (kategorie inventio i fantasia), sięgającego do dostępnej mu wiedzy teologicznej, przyrodniczej oraz własnych doświadczeń optyczno-wizualnych. Powyższa linia interpretacyjna akcentująca oddziaływanie biblijnej logosfery (Ps 84,12; 104,2; Dn 2,22; Łk 16,22; 23,43; J 8,12; 12,36; 2 Kor 12,2; 1 Tm 6,15-16; 1 J 1,5; Ap 21,24), uwzględnia niepodważalne doświadczenia religijne malarza z ’s-Hertogenbosch wynikające z przynależności do Kościoła (liturgia, kazania, modlitwy). Czynnikiem o istotnym znaczeniu epistemologicznym rzutującym na odpowiedź na tytułowe pytanie studium jest nieweryfikowalny fakt ewentualnego osobistego doświadczenia transcendentnego Boscha, tym samym niemożliwa staje się ocena przekładu tego, co duchowe (przeżycie) na wizualne (obraz). Z kolei nie w pełni uchwytna naukowo natura NDE wyklucza włączenie tego zjawiska, pomimo odnotowanych podobieństw pomiędzy NDE a tablicą z Wenecji, w obszar wniosków końcowych.
EN
The painting Ascent into Heaven (88.8 x 39.9 cm; dendrological dating: 1482-1490) kept in the Palazzo Ducale in Venice is one of the four eschatological panels (remaining three: Earthly Paradise, Fall of the Damned, Hell) which probably were in the collection of the Venetian Cardinal Domenico Grimani in the 1520s. The panels’ original arrangement and function are unknown. The paintings are not signed and their attribution to Jheronimus Bosch (c. 1450-1516 ) is based largely on the grounds of stylistic criteria. In the study I put Ascent into Heaven into two fundamental contexts for the iconographic analysis of this work: eschatological literature and Netherlandish/ Flemish painting and in the context of near-death experiences (NDE) as well. The answer to the question posed in the title of the study must remain twofold. On the basis of the data gathered in the study the content of the painting can be comprehended by reference to the most frequently quoted sources of inspiration for Bosch: one painting by Dieric Bouts (left wing of the Last Judgement Altarpiece; Lille, Palais des Beaux Arts), two illuminations by Simon Marmion (Le livre des sept Ages du monde; Brussels, Bibliothèque royale de Belgique, Ms. 9047, fols. IV & 12r) and a literary work Dat rike der ghelieven by Jan van Ruusbroec. Its content can be equally understood by reference to the role of the painter’s imagination (categories of inventio and fantasia), using his theological and astronomical knowledge. The above line of interpretation that emphasizes the influence of biblical logosphere, takes into account undeniable religious experience of the painter from ‘s-Hertogenbosch resulting from being a member of the Church. The factor of an epistemological importance which influences the form of the answer to the title question is hypothetical non-verifiable Bosch’s personal transcendental experience, thus it becomes impossible to evaluate the translation of what is spiritual (experience) into visual (image). Due to the elusive, not fully scientific nature of NDE this fenomenon should be excluded from the final conclusion.
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