Research on the iconographical program in the stained glass of Chartres cathedral

我们通过对中世纪壁画和彩色玻璃被视为“文盲的圣经”的过于简单的方式的重新质疑，并通过对图像与文字之间的差异，视觉图像特有的可能性以及图像与文字之间的伙伴关系的视角，提出了对沙特尔大教堂窗户可能承担的功能的展望。接下来，我们讨论了关于谁是窗户信息的发送者和谁是接收者的不同解释；我们得出的结论是，是牧师控制了大教堂，他们始终如一地保留着Windows的肖像，而这个肖像项目可能以包括牧师在内的会众为目标。沙特尔大教堂的窗户始终在诉说着教会，也就是教会。这一事实的背景一定是1200年左右天主教会周围的危急情况：异教徒，犹太人。拜占庭,伊斯兰教…在这种情况下，它被要求与教堂的所有组成部分分享教堂的理想，在沙特尔大教堂的中间。在这个意义上，沙特尔的窗户具有超越地方性的普遍信息。

We have presented a prospect on the functions that the windows of Chartres cathedral could assume, by requestioning the too easy way ot seeing medieval wall paintings and stained glasses as "the Bible for the illiterates", and by giving a perspective of the differences between image and word, possibilities particular to visual image, and partnership between image and word. Next, we have argued on the different interpretations about the problem of who was the sender of massages of windows and who are their receivers ; and we concludied that it is the priesthood who cotroled the cathedral that conseived consistently the iconography of windows and that this iconographical program had probably as its target the congregation including the priesthood. The windows of Chartres cathedral speak insistently of the Church, that is the Ecclesia. The background of this fact must be a critical situation surrounding the Catholic Church of around 1200 : hereies, Jews. Byzantine, Islam... In this situation, it has been required to share the ideal of the Curch with its all compoanents, in the midst of the cathedral chauch of Chartres. In this meaning, windows of Chartres have universal messages surpassing localness.