Experiencing Pilgrimage and Experiencing Art in Central Italy c.1264 - 1456

在意大利中部体验朝圣和艺术体验 c.1264 - 1456

• 批准号: 2261574
• 金额: --
• 依托单位: Courtauld Institute of Art
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2261574
• 关键词: Experiencing; Pilgrimage; Art; Central; Italy

The relationship between long-range pilgrimage and art during the medieval period has long been the subject of study and continues to stimulate significant work. Pilgrimage has been predominantly understood in relation to three major destinations: Jerusalem, Rome and Santiago de Compostela. The route to Rome from Canterbury via France (the via Francigena) has been presented as the definitive experience of Italian pilgrimage. An over-reliance upon the earliest surviving account of the route, by the Archbishop of Canterbury Sigeric in 990 A.D., proves problematic for studies of later centuries. Rather than constituting a fixed itinerary, static through history, the via Francigena is better understood as a nexus of major and lesser-known routes, offering the opportunity for a variety of devotional journeys. The implication of such a redefinition is that the experience of pilgrimage permeated the central-Italian landscape, rather than being confined to Rome.Few studies have focused on sites within Italy beyond Rome. Significant contributions have explored pilgrimage in locations such as Assisi (Cooper and Robson), Bologna (Ousterhout) and Pisa (Cole Ahl). Pilgrimage in late-medieval Italy was more than the journey of devotees towards a religious site. The full spectrum of pilgrimage included local, virtual and imagined journeying. Even fewer studies of Italian material have examined the relationship between art, architecture and the full range of pilgrim experiences. The pilgrim viewer has, however, been explored in relation to the Passion Cycle at Assisi (Robson) and virtual pilgrimage has been related to the narrative panels of Duccio's Maestà in Siena (Seiler, Rosser). Dorothy Glass sought to explore the artistic exchange facilitated by the via Francigena in the twelfth and early thirteenth centuries. She found that, though rich in material, the results did not yield the pattern she had expected. The via Francigena remains a key construct for the study of pilgrimage in Italy but, taking heed of Glass' observations, my research will take a different approach to the route. The thesis would explore the topic of art and pilgrimage through focused study of three objects located in sites related to the Francigena in different ways: the Maestà in Siena Cathedral (on the main via Francigena); the less-studied Reliquary of the Holy Corporal in the Cathedral of Orvieto (to the side of the main route); and the much-less studied Altar of San Jacopo in the Church of San Zeno in Pistoia (on an alternative route). The combination of Siena, Orvieto and Pistoia provides a wealth of research material to explore two overarching questions: how does the art and architecture of late-medieval Italy reflect the nature of contemporary pilgrimage experience and how did pilgrimage and the demands of a pilgrim viewer contribute to the making of art and architecture in the period? Beginning from the objects themselves, I will explore successive layers of context: setting the works within their chapels, cathedrals, urban contexts, within Central Italy and broader networks of pilgrimage. These works have largely been treated in isolation from pilgrim experience and often only with regard to attribution. With a comparative approach, the thesis will not only draw together these works of conceptual and visual resonance, but also the rich material that surrounds them.

长期以来，中世纪时期的长途朝圣和艺术之间的关系一直是研究的主题，并继续激发重要的工作。朝圣主要被理解为与三个主要目的地有关：耶路撒冷、罗马和圣地亚哥-德孔波斯特拉。从坎特伯雷经法国前往罗马的路线（via Francigena）被认为是意大利朝圣的决定性经验。过度依赖于公元990年坎特伯雷大主教西格里希对这条路线的最早记载，对以后几个世纪的研究来说是个问题。而不是构成一个固定的行程，静态通过历史，通过Francigena更好地理解为主要和鲜为人知的路线的连接，提供了各种虔诚的旅程的机会。这种重新定义的含义是，朝圣的经历渗透到意大利中部的景观，而不是局限于罗马。很少有研究集中在意大利境内的地点以外的罗马。重要的贡献已经探索了朝圣的地点，如阿西西（库珀和罗布森），博洛尼亚（奥斯特豪特）和比萨（科尔阿勒）。在中世纪晚期的意大利，朝圣不仅仅是信徒前往宗教场所的旅程。朝圣的全方位包括当地的，虚拟的和想象的旅行。对意大利材料的研究甚至更少，研究了艺术，建筑和朝圣者体验之间的关系。然而，朝圣者的观众已经被探索与阿西西的激情周期（罗布森）和虚拟朝圣已经与杜乔的Maestà在锡耶纳（塞勒，罗瑟）的叙事面板。多萝西·格拉斯试图探索12世纪和13世纪初通过弗朗西杰纳促进的艺术交流。她发现，虽然材料丰富，但结果并没有产生她所期望的模式。通过Francigena仍然是研究意大利朝圣的一个关键结构，但是，注意到格拉斯的观察，我的研究将采取不同的方法来研究这条路线。本论文将通过对三件与弗朗西根纳有着不同联系的文物的集中研究来探讨艺术与朝圣的主题：锡耶纳大教堂的大师（在主要通过Francigena）;较少研究Reliquary的神圣下士在大教堂的奥维多（在主要路线的一侧）;和少得多的研究圣雅格布祭坛在圣芝诺教堂在佩斯托亚（在另一条路线）。锡耶纳，奥维多和佩斯托亚的结合提供了丰富的研究材料，探讨两个首要问题：中世纪晚期意大利的艺术和建筑如何反映当代朝圣经验的性质，以及朝圣和朝圣者观众的需求如何有助于这一时期的艺术和建筑的制作？从这些物品本身开始，我将探索连续层次的背景：将这些作品置于他们的小教堂、大教堂、城市背景、意大利中部和更广泛的朝圣网络中。这些作品在很大程度上被视为孤立的朝圣者的经验，往往只是关于归属。通过比较的方法，本文不仅将这些具有概念和视觉共鸣的作品结合在一起，还将围绕它们的丰富材料结合在一起。