At Home With Religion in Renaissance Italy
At Home With Religion in Renaissance Italy
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熟悉文艺复兴时期意大利的宗教
DOI：
10.1080/17432200.2017.1377448
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发表时间：
2017
影响因子：
0.4
通讯作者：
Harris E
中科院分区：
文献类型：
--
作者：
Harris E
透过意大利文艺复兴时期住宅的钥匙孔窥视，发现一个隐藏的宗教奉献世界。展览汇集了丰富的物品，包括珠宝，陶瓷，书籍，雕塑和绘画，邀请我们进入一个充满精神意义的家庭领域。1《圣母玛利亚》和《奇迹》汇集了一系列物品，探索这一历史时期的私人空间如何融入宗教信仰和实践。几乎完全依靠文物来展示宗教在早期现代家庭空间中的重要性，这个展览成功地研究了宗教在日常生活中的物质性：展出的物品包括陶瓷，绘画，雕刻和祈祷书籍，围绕着从出生和死亡到家庭生活，祈祷和朝圣的不同主题进行分组。尽管其主题重点，展览的范围要广泛得多，与令人印象深刻的对象，实践和信仰的范围考虑。宗教在意大利文艺复兴时期家庭中的作用通过这些空间的物质文化被重新创造出来，这些物品本身指向家庭中信仰的中心位置，并在历史上的这一点上使世俗主义的叙述复杂化。展出的物品既有装饰性又有功能性：有些非常有价值或艺术性，有些则价格低廉且破旧不堪。策展人并没有区分两者，而是将不同的形状、风格和材料并列在一起。例如，圣水stoup和aspergillum（埃及或叙利亚，约。早期的第十四世纪）与黄金和银镶嵌黄铜被显示在同一部分作为锡釉，陶器雕像的“处女和儿童”（约。1350-1450）从一个更“卑微的家”。这第二件文物部分破碎，展览中的许多物品都因使用而磨损，磨损或碎裂，带有前主人的痕迹：例如，一个宗教
Peer through the keyhole of the Italian Renaissance home and discover a hidden world of religious devotion. Bringing together a wealth of objects, including jewelry, ceramics, books, sculptures, and paintings, the exhibition invites us into a domestic sphere that was charged with spiritual significance. 1Madonnas and Miracles brought together a range of objects to explore how private space in this historical period was infused with religious belief and practice. Relying almost entirely on artifacts to demonstrate the importance of religion in early modern domestic space, this exhibition successfully examined the materiality of religion in everyday life: objects on display included ceramics, paintings, engravings and devotional books, grouped around different themes from birth and death to family life, prayer and pilgrimage. Despite its thematic focus, the scope of the exhibition was much wider, with an impressive range of objects, practices and beliefs considered. The role of religion in Italian Renaissance homes was re-created through the material culture of these spaces, with the objects themselves pointing to the central place of faith within the home, and complicating narratives of secularism at this point in history. The objects displayed were both decorative and functional: some highly valuable or artistic, others inexpensive and well-worn. The curators did not draw distinctions between the two, but juxtaposed different shapes, styles and materials. For instance a holy water stoup and aspergillum (Egypt or Syria, ca. early fourteenth century) made of brass with gold and silver inlay was displayed in the same section as a tin-glazed, earthenware statue of the “Virgin and Child”(ca. 1350–1450) from a more “humble home.” This second artifact was partly broken, and many objects in the exhibition were worn, frayed or chipped with use, bearing traces of former owners: for example a religious