The reception of Jesus’ first sign in serbian medieval fresco painting
After introductory presuppositions for researching the biblical reception in the sacral art of medieval Serbia, this paper presents the ways of visual interpretation of Jesus’ first sign in the Gospel of John (2:1–11). The most representative portrayal of the wedding in Cana in Serbian fresco painti...
| Subtitles: | Die Rezeptionsgechichte des Jona-Buches in christlicher Literatur |
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| Main Author: | |
| Format: | Print Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Ed. Dehoniane
2020
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| In: |
Annali di storia dell'esegesi
Year: 2020, Volume: 37, Issue: 1, Pages: 165-180 |
| Standardized Subjects / Keyword chains: | B
Serbia
/ Mural painting
/ John
/ History 1300-1500
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| IxTheo Classification: | CE Christian art HC New Testament KAF Church history 1300-1500; late Middle Ages KBK Europe (East) |
| Further subjects: | B
medieval art
B Kalenic B Fresco painting B Wedding in Cana B Reception B Serbia |
| Summary: | After introductory presuppositions for researching the biblical reception in the sacral art of medieval Serbia, this paper presents the ways of visual interpretation of Jesus’ first sign in the Gospel of John (2:1–11). The most representative portrayal of the wedding in Cana in Serbian fresco painting, located in the monastery of Kalenic (15th century), was selected as the subject of concrete analysis. The paper shows that the original solutions in Serbian fresco painting may be treated as the outcome of the actualization of the original meanings and not just the result of reliance on influential source models. |
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| ISSN: | 1120-4001 |
| Contains: | Enthalten in: Annali di storia dell'esegesi
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