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After Iconoclasm: The Refurbishing of Catholic Churches in Augsburg, Antwerp and the Northern Netherlands. A Comparative Study

破坏偶像之后：奥格斯堡、安特卫普和荷兰北部天主教堂的整修。

基本信息

批准号：
279720139
负责人：
Privatdozentin Dr. Esther Meier
金额：
--
依托单位：
依托单位国家：
德国
项目类别：
Research Grants
财政年份：
2015
资助国家：
德国
起止时间：
2014-12-31 至 2018-12-31
项目状态：
已结题

来源：
https://gepris.dfg.de/gepris/projekt/279720139?language=en
关键词：
After Iconoclasm Refurbishing Catholic Churches

项目摘要

Iconoclasm of the Reformation marks a harsh break in the history of art. The phenomenon of destroying images and its impact on sacred art is well known, but the process of refurbishing Catholic churches after iconoclasm has been investigated only in a rudimentary manner. The research project works from the assumption, that instead of guidelines from the Council of Trent, the position of the Catholics in the respective cities determined the program for the new images. Wether Catholicism was the leading denomination in the city, or if it was only tolerated, made a great impact on the subject, semantics and style of the new pictures. To trace this premise, the altarpieces in three locations will be investigated. Antwerp in 1585, a few years after the last iconoclasm, was firmly under Spanish rule. Catholicism became the only approved denomination in society and politics. In the northern Netherlands after the political takeover by the Reformed, the Catholic Church had to go underground. Clandestine churches were built in private houses, which soon were equipped with paintings. In Augsburg some years after iconoclasm, a confessional parity was established and the city provided space for Catholic and Lutheran churches.The refurbishing of Catholic churches after iconoclasm did not proceed at a broadly uniform pace, rather in a locally specific manner. An initial overview shows that the pace and scale varied, depending on whether the refurbishing was done for churches in a Catholic city, or in a region where Catholics were only a tolerated minority, or in a city of Catholic and Lutheran parity. For the mentioned cities and region the installations after iconoclasm shall be investigated thoroughly. The comparative study will show the extent to which the social-confessional context affected the new altar pieces in Catholic churches after iconoclasm.

对宗教改革的颠覆标志着艺术史上的一次严厉的决裂。破坏形象的现象及其对神圣艺术的影响是众所周知的，但在破坏偶像后翻新天主教堂的过程只被初步调查过。该研究项目基于这样一种假设，即天主教徒在各自城市的地位决定了新图像的计划，而不是特伦特议会的指导方针。无论天主教是这座城市的主要教派，还是仅仅被容忍，都对新画的主题、语义和风格产生了巨大的影响。为了追踪这一前提，将对三个地点的祭坛进行调查。安特卫普在1585年，也就是最后一次打破传统的几年后，牢牢地处于西班牙的统治之下。天主教成为社会和政治中唯一被认可的教派。在荷兰北部，在改革派接管政权后，天主教会不得不转入地下。秘密教堂建在私人住宅中，很快就配备了绘画。在颠覆偶像的几年后，奥格斯堡建立了忏悔式的平等地位，这座城市为天主教会和路德教会提供了空间。颠覆偶像后的天主教堂的整修并没有以大致一致的速度进行，而是以当地特有的方式进行。初步的概述显示，翻新的速度和规模各不相同，这取决于翻修是在天主教城市进行的，还是在天主教徒只被容忍的少数人的地区进行的，还是在天主教和路德教徒平等的城市进行的。对于上述城市和地区，应彻查破坏偶像后的设施。这项比较研究将展示社会忏悔环境在多大程度上影响了天主教教堂在打破传统观念后新的祭坛作品。