Innehåll #1 2015 (#84)

Editorial
Från redaktionen Annette Landen

Med årets första ICO-nummer (2015:1) följer ett värdefullt supplement: Ikonografisk Artikelindex over publikationer fra Nordiska Symposier for Ikonografiske Studier 1968–2010, utarbetat av Thomas W. Lassen 2012 (sökbar pdf-fil). Meningen är att indexet i fortsättningen ska uppdateras successivt och publiceras i ICO. Det ger en översikt av de avhållna symposierna, deras respektive temata och de artiklar (uppställda efter författarnamn) som författats på basis av de hållna föredragen och som publicerats under drygt fyra decennier, antingen i särskilda symposieskrifter eller separat, t.ex. i tidskrifter som ICO, Hafnia och Konsthistorisk tidskrift (ur förordet Ico #1 2015)

Artiklar

Kungen är död, leve helgonkungen! Till tolkningen av en romansk bildfris Torkel Eriksson

The subject of this article is the figure frieze on the Romanesque font in Östra Hoby Church in Scania, Sweden, executed in the 1160s by a stone mason who had links with Lund Cathedral. The frieze has long been an art historical enigma, but it clearly depicts the legend of a saint. It consists of five scenes interpreted here as depicting the story of Canute the Holy, King of Denmark (Knut den helige), killed in Odense 1086 and canonized in 1099. This interpretation is based on the legends concerning King Canute and Danish chronicles from the 12th and 13th centuries. The most detailed version of the legend was written by the English monk Ælnoth about 1122, and the most important profane narrative forms part of the Knytlingasaga, written shortly after 1250. The five reliefs on the font are interpreted as: 1) King David, represented as a Patriarch and Rex Musicae; 2) King Canute sitting with an unknown person at an altarlike table; 3) The deathbed of King Canute in 1086 and his elevation in 1095; 4) Canute’s father-in-law, Count Robert of Flanders, and the two brothers who (according to the Knytlingas​​aga) were sent to Robert in order to negotiate the release of Oluf, Canute’s brother; 5) Queen Edel, Canute’s widow, standing in front of the pope who proclaims the canonization of Canute.

Johannes Gyllenmun – en senmedeltida ikonografisk förvirring Eva Lindqvist Sandgren

The pictorial program in Thott 113, an illuminated French book of hours from c. 1400 in the Royal Library, Copenhagen, is fairly conventional. But instead of the usual evangelist portrait at the beginning of the gospel, St. John is placed on the island of Patmos, where his writing is interrupted by a devil who steals his ink. This motif became popular around the middle of the 15th century in northern France and Flanders, a fact previously noticed by scholars. In this article, however, the motif is connected to Parisian book illumination from a slightly earlier period, i.e. the late 14th or early 15th century, and to some of the illuminators working for Duke Jean de Berry (d. 1416). The motif originated through a confusion of John the evangelist with John Chrysostom. It can be connected to a Miracle play, performed annually by the goldsmiths’ guild in Paris during the 14th century. The book illuminators who used the scene included, for example, the Vergil Master, although the painter of the Thott hours in Copenhagen, the Ravenelle Master, seems to have used it even more frequently.

Sankt Franciskus och kyskhetens ikonografi Minna Hamrin

During the second half of the 16th century, images of a naked Saint Francis of Assisi, lying on a bed of burning coal accompanied by a female prostitute, started to appear in Franciscan art – first in illustrated manuscripts and then in oil paintings and murals. The motif is known as La castitá essemplaria di san Francesco (St Francis’s Exemplary Chastity) or Le tentazioni di san Francesco (The Temptations of St Francis) and forms part of the new Franciscan iconography that developed as a result of the Catholic reformation (1545–1563). Many of the episodes illustrated by Giotto and the artists of the 14th and 15th centuries were replaced by others that focused on Francis’s poverty, humility and exemplary chastity. In this article, the iconography of St Francis’s Exemplary Chastity in Italian art is studied from its origin in late 16th-century engravings through its developments in oil painting and murals until the early 18th century. The origin of the story is found in I Fioretti di San Francesco (The Little Flowers of St Francis). The Saint is pictured as a potent and muscular Miles Christi offering an example of his spotlessly chaste character through resisting a young prostitute, but who also performs a miracle and saves her soul. This image, it is argued, reflects the position of the reformed Catholic Church, where the individual’s own responsibility for salvation was clearly emphasized.

Helena Edgren In memoriam Marianne Roos


Redaktionell kommentar till Torkel Erikssons artikel Søren Kaspersen

Utställningen "De medeltida lejonen i Lunds domkyrka" Lars Berggren

Open access Iconographisk Post

Publicerad: 2015-04-21

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