Raná ikonografie sv. Brigitty Švédské

Abstract

Ikonografie sv. Birgitty zacimi v Italii deskovymi obrazy Niccola da Tommaso zachycujicimi Rev. VII, 21, tedy zjeveni Narozeni Pane Birgitte Birgersdotter, ktereho se ji dostalo v jeskyni Narozeni v Betleme. Tyto desky jsou datovany do let 1373-76, tedy tesne po Birgittine smrti a vice nez deset let pred kanonizaci. V osmdesatych letech vznikl soubor rukopisu, vyzdobenych cyklem iluminaci zachycujicich sceny z Birgittina zivota, vesmes v souvislosti s videnimi, kterych se ji dostalo. Ctyfi z techto rukopisu se dochovaly. Tyto rukopisy byly predlohou jednak dalsim rukopisum,jednak deskove malbe. Jednim z hlavnich zprostredkovatelu Birgittina kultu byl editor Revelaciones, Alfonso z Jaenu, Birgittin posledni zpovednik, ktery primo zprostredkoval Birgittino dilo v Pise a v Siene a pravdepodobne i v Janove, kam se ke sklonku sveho zivota uchYlil. Ve Svedsku se Birgittina ikonografie vyvijela odlisne vzhledem kjinym kulturnim predpokladum. Hlavni cast zachovanych del tvori drevene oltarni sochy, vysivky pochazejici z birgittinskych klasternich dilen a nastenne malby. Iluminovany rukopis ze sledovaneho obdobije znam pouze jeden a neni ani zcelajiste,jestlije svedskeho puvodu. Je pomerne vernou kopii rukopisu z Morgan Library v New Yorku. Umelecka dila jsou obsahove jednodussi a stylove casto ponekud zaostala, ale...

Early Iconography of St. Birgitta of Sweden The development of iconography of St. Birgitta of Sweden starts in Italy with the paintings ofNiccolo da Tommaso which depict the Rev. VII, 21, the vision of Birth of Christ as it was received by Birgitta in the cave of Nativity in Betlehem. These panel paintings are dated between 1373 and 1376, just after Birgitta's death and more than ten years before her canonization. In the 1380's a series ofluxurious manuscripts was created. These are decorated with a series of illuminations depicting scenes from Birgitta's life, mostly in connection with the revelations she received. Four of the manuscripts are preserved, they served as example to other manuscripts and panel paintings. One of the main personalities who helped to spread Birgitta's cult was her last confessor, Alfonso of J aen. He brought the know ledge ofBirgitta' s work in Pisa, Siena and possibly to Genova, in whose vicinity he spent the last years of his life. In Sweden the development of Birgit tine iconography followed another path. Main part of the works extant are wooden sculptures, embroideries that come from the workshops of Birgittine monasteries and wall paintings. There is only one manuscript from the early period surviving. It's not entirely clear whether it was made in Sweden and it is a close...