„Musica amorem allicit“: Davids Ständchen an Batseba im Bade (2Sam 11,2)
Bathsheba is one of those figures who plays a rather minor role in the Bible but who has subsequently developed a rich afterlife in reception. Bathsheba’s first appearance, the bathing scene (2 Sam 11,2), has attracted not only exegetical questions but also creative artistic interpretations. Among s...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Deutsche Bibelgesellschaft
2023
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| In: |
Die Bibel in der Kunst
Year: 2023, Volume: 7, Pages: 1-33 |
| Standardized Subjects / Keyword chains: | B
Bible. Samuel 2. 11,2
/ Bathsheba
/ Musik
/ Love
/ Love (Motif)
/ David, Israel, König
/ Bath
/ Iconography
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| IxTheo Classification: | HB Old Testament |
| Online Access: |
Volltext (kostenfrei) |
| Summary: | Bathsheba is one of those figures who plays a rather minor role in the Bible but who has subsequently developed a rich afterlife in reception. Bathsheba’s first appearance, the bathing scene (2 Sam 11,2), has attracted not only exegetical questions but also creative artistic interpretations. Among several numerous pictorial motifs, one particular representation of the scene has been popular since the fifteenth century in which David, mindful of his musical prowess, effectively employs the music of courting love: “Musica amorem allicit” (Johannes Tinctoris). This motif is first found in the Bedford Hours (ca.1414/15) and is subsequently developed in other Books of Hours and in Pre-Reformation biblical manuscripts as well as individual images. The motif, appropriated by artists such as Lucas Cranach and his workshop, Georg Lemberger and others, appears constantly, especially in early Lutheran Bibles, in Luther’s catechism (in the context of the sixth commandment) as well as in a range of drawings and panel paintings. In depictions of the scene, from around 1500 onwards, the figure of Bathsheba, as she bathes, moves to the forefront of the picture, while the image of the king increasingly recedes into the upper background. The added musical dimension makes clear David’s active role, which is repeatedly questioned and challenged: it is not by chance that the king rises from his palace and catches sight – however unwillingly – of the bathing woman. David’s active involvement is thus effectively brought into play through the musical dimension. |
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| Contains: | Enthalten in: Die Bibel in der Kunst
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