Narratives of Iconoclasm. The Reception of Reformation Image Destruction in the Arts of the Southern and Northern Netherlands between 1566 and 1830

发生在荷兰南部和北部的圣像破坏运动是一场激烈的事件，几个世纪以来，人们一直记得它，并对此进行了有争议的讨论。该项目将研究宗教改革期间的图像破坏在视觉媒体中被改编和重新解释的方式，并将调查所追求的叙事。在先前已知的以及许多未发表的偶像破坏图像的基础上，有可能获得对事件意义的变化方式的广泛概述，以及用于建立意义的解释模型。所调查的时期始于1566年的反圣像行动，随后是两年后的八十年战争，这导致了北部省份的独立，并于1830年比利时国家的建立结束，不久之后荷兰君主制建立。在几个世纪的过程中，政治、忏悔和社会形势不断变化，反映偶像破坏的视觉媒体也在不断变化。在不同的背景下对同一事件的接受使我们有理由相信没有统一的形象被传递；相反，不同的叙述在特定和更广泛的社会群体中出现并流传。不同群体的解释模型回顾性地赋予破坏性事件不同的含义。虽然16世纪的圣像破坏确实是一种神学冲突的表达，导致了忏悔的分离，但圣像破坏的叙述并不仅仅是由天主教和新教之间的对立决定的，而且，可能更强烈的是，由不同的接受环境决定的。视觉接收并不局限于16世纪和17世纪，这是艺术史研究的共同焦点，但在18世纪和19世纪初获得了很大的相关性。这一后期尤为重要，因为1800年前后，北部和南部的政治局势不稳定，依赖，以及荷兰和比利时君主制的建立。因此可以假设，在不断变化的社会、忏悔和政治制度下，社会中的多层次群体（忏悔、艺术爱好者、艺术家、一个国家的公民）在不同的话语中加入了反偶像主义。尽管16世纪早期的描绘以大报为媒介讨论神学方面，但1600年以后绘制的反传统场景被整合到更广泛的关于艺术和文化的辩论中。特别是在18和19世纪，历史书中的插图反映了这一事件。这表明，在那个时候，政治层面被强调了1566年的圣像破坏被理解为民族起义和国家建设漫长过程的开始。

The iconoclasm that took place in the Southern and Northern Netherlands was a drastic event, remembered and controversially discussed for centuries afterward. This project will examine the ways in which the destruction of images during the Reformation was adapted and reinterpreted in visual media, and it will investigate the narratives that were pursued. On the basis of previously known as well as numerous unpublished images of the iconoclasm, it will be possible to gain a broad overview of the changing ways in which meaning was attributed to the event and of the interpretative models used to establish meaning. The period under investigation begins with the iconoclastic acts of 1566, followed two years later by the Eighty Years’ War, which led to the independence of the northern provinces, and it ends with the foundation of the Belgian state in 1830, not long after the establishment of the Netherlandish monarchy. Over the course of the centuries, the political, confessional, and social situation changed repeatedly, as did the visual media in which iconoclasm was reflected. The reception of the same event in varying contexts gives reason to believe that no uniform image was passed on; instead, different narratives emerged and circulated within both particular and broader societal groups. The interpretative models of the different groups retrospectively attributed distinct meanings to the destructive event.Although the iconoclasm of the sixteenth century was indeed an expression of a theological conflict that led to the separation of the confessions, the narrative of the iconoclasm was not determined solely by the dichotomy between Catholic and Protestant but also, and probably more strongly, by the varying contexts of reception. The visual reception was not limited to the sixteenth and seventeenth centuries, which are the common focus of art historical research, but gained great relevance in the eighteenth and early nineteenth centuries. This later period is especially important because of the political situation in the north and the south, which around 1800 was characterised by instability, dependencies, and the foundation of the Netherlandish and Belgian monarchies.It can therefore be assumed that, under changing social, confessional, and political systems, the multi-layered groups within society (confessions, art lovers, artists, citizens of a nation) inscribed iconoclasm within different discourses. Whereas the early depictions of the sixteenth century discuss theological aspects in the medium of broadsheets, the iconoclastic scenes that were painted after 1600 are integrated into a broader debate about art and culture. Especially in the eighteenth and nineteenth centuries, the event was reflected in illustrations in history books. This suggests that, by that time, the political dimension was emphasized: the iconoclasm of 1566 was understood as the beginning of a national uprising and of the long process of nation-building.