Medieval Miraculous Images in the Baroque period in the Archdiocese of Cologne (in its late 18th century boundaries)

科隆总教区（18 世纪末边界）巴洛克时期的中世纪奇迹图像

• 批准号: 490617940
• 负责人: Dr. Tobias Kunz
• 金额: --
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/490617940?language=en
• 关键词: Medieval; Miraculous; Images; Baroque; period

This project examines medieval sculptures and paintings that were venerated in the early modern period in the archdiocese of Cologne as miraculous images or conferred a special role within the sacral landscape of that age. The reframing, the context and the various actors supporting the veneration of these images will be analysed, as well as their role in the construction of a regional identity during a period of economic and political stagnation. Until now, the Baroque mise-en-scène of medieval statues in the Rhine region has not been studied. It’s significance, however, extends far beyond the boundaries of the archdiocese for understanding how older objects were engaged with, as the visual presence of the Middle Ages was stronger in the archdiocese of Cologne in the early modern period than in almost any other Western European region. Medieval statues were presented in the key churches of the metropolis (Cathedral, Jesuit Church, Saint Ursula) in combination with relics, often with a comparable status. The reframing of statues, moreover, had been a well-known phenomenon in the Rhine region since as early as the late medieval era. Around 1500, moreover, Cologne established itself as the hub of a network of local pilgrimages to images – something hardly noticed in the research up to now. Linked to this are the numerous smaller pilgrimages to medieval statues during the Catholic Reformation. This was promoted by the Wittelsbach electors of Cologne as well as by their relatives, the Dukes of Palatinate-Neuburg, resulting in the royal residence cities of Bonn, Brühl and Düsseldorf being refurbished into model sacral landscapes. Monasteries and collegiate churches, older as well as newer ones, participated intensively in the staging of older statues. Lay persons gathered together in brotherhoods, particularly in Cologne, took charge of the organisation of the pilgrimages to such images. The collaboration of these agents, their motivation and perspectives on the older objects will be examined, just like the question of what dynamics could evolve out of a personal connection with the miraculous images. Better than the major pilgrimages to the holy tombs controlled by ecclesiastical institutions, these smaller pilgrimages to venerated images – studied for the first time in regards to Cologne – were ideal for establishing an identity for a complex society. These miraculous images have often received scant attention, as they have long been considered “disfigured” by later applications of polychromy, and thus stand all the more at the centre of this project. For this reason, the technological examination of these works and their early modern modifications will receive particular attention. Above all, the sacral landscape of the early modern archdiocese of Cologne will be reconstructed, a landscape disformed by massive changes during the 19th and 20th centuries, yet marked by the material presence of a great past.

这个项目考察了中世纪的雕塑和绘画，这些雕塑和绘画在现代早期被科隆大主教区作为奇迹般的形象或在那个时代的神圣景观中被赋予了特殊的角色。将分析这些图像的重构，背景和支持这些图像的崇拜的各种行为者，以及它们在经济和政治停滞时期在构建区域身份方面的作用。迄今为止，莱茵河地区的巴洛克式中世纪雕像还没有被研究过。然而，它的意义远远超出了大主教管区的界限，以了解更古老的物体是如何参与的，因为中世纪的视觉存在在近代早期的科隆大主教管区比几乎任何其他西欧地区都要强烈。中世纪的雕像在大都会的主要教堂（大教堂，耶稣会教堂，圣乌苏拉）与文物结合在一起，通常具有可比的地位。此外，早在中世纪晚期，重塑雕像就已经是莱茵河地区的一个众所周知的现象。此外，大约在1500年，科隆成为了当地图像朝圣网络的中心--这在迄今为止的研究中几乎没有被注意到。与此相关的是天主教改革期间众多较小的中世纪雕像朝圣。科隆的维特尔斯巴赫选帝侯以及他们的亲戚普法尔茨-诺伊堡公爵推动了这一进程，导致波恩、布吕尔和杜塞尔多夫等皇家居住城市被翻新成神圣景观的典范。修道院和学院教堂，无论是旧的还是新的，都积极参与了旧雕像的制作。俗人聚集在一起的兄弟会，特别是在科隆，负责组织朝圣这些图像。这些代理人的合作，他们的动机和对旧对象的观点将被检查，就像什么样的动态可以从与奇迹图像的个人联系中发展出来的问题一样。这些规模较小的朝拜圣像的朝圣活动--这是第一次在科隆进行研究--比那些前往由教会机构控制的圣墓的大规模朝圣活动更好，是为一个复杂的社会建立身份的理想选择。这些神奇的图像往往很少受到关注，因为它们长期以来被认为是“毁容”的后来应用多色，因此站在这个项目的中心。因此，对这些作品的技术审查及其早期现代修改将受到特别关注。最重要的是，现代早期科隆大主教区的神圣景观将被重建，这一景观在19世纪和20世纪的巨大变化中被扭曲，但以一个伟大的过去的物质存在为标志。