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.

中世纪时期的长途朝圣与艺术之间的关系长期以来一直是研究的主题，并继续激发人们对朝圣的重要研究，主要涉及三个主要目的地：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（弗朗西杰纳路）的罗马被描述为意大利朝圣的权威体验，这是对坎特伯雷大主教西格里克现存最早的这条路线的描述的过度依赖。公元 990 年的弗朗西杰纳大道对于后来几个世纪的研究来说是有问题的，而不是构成一个固定的、静态的路线，而是一条主要和鲜为人知的路线的连接点，为各种宗教旅行提供了机会。这种重新定义的含义是，朝圣的经历渗透到了意大利中部的景观中，而不仅仅局限于罗马。很少有研究关注罗马以外的意大利境内的遗址。对阿西西（库珀和罗布森）、博洛尼亚（奥斯特豪特）和比萨（科尔阿尔）等地的朝圣做出了重大贡献。中世纪晚期意大利的朝圣不仅仅是信徒前往宗教场所的朝圣之旅。然而，对意大利材料的研究却很少，包括当地的、虚拟的和想象的旅程。 《阿西西的激情循环》（罗布森）和虚拟朝圣与杜乔在锡耶纳的《Maestà》（塞勒、罗瑟）的叙事面板有关，试图探索十二世纪和十三世纪初弗朗西吉纳大道所促进的艺术交流。发现虽然材料丰富，但结果并没有产生她预期的模式，弗朗西杰纳大街仍然是意大利朝圣研究的一个关键结构，但要注意。根据格拉斯的观察，我的研究将采取不同的方法来探讨艺术和朝圣的主题，以不同的方式集中研究位于弗朗西杰纳相关地点的三个物体：锡耶纳大教堂的马埃斯塔（位于锡耶纳大教堂）。奥尔维耶托大教堂（主干道一侧）中研究较少的圣下士圣物箱，以及研究较少的圣雅各布祭坛；皮斯托亚的圣芝诺教堂（另一条路线）锡耶纳、奥维多和皮斯托亚的结合提供了丰富的研究材料来探索两个首要问题：中世纪晚期意大利的艺术和建筑如何反映意大利的本质。当代的朝圣经历以及朝圣和朝圣观众的需求如何促进了这一时期的艺术和建筑的创作？大教堂、城市环境、意大利中部和更广泛的朝圣比较网络，这些作品在很大程度上是与朝圣者的经历隔离开来的，而且往往只是通过一种方法，将这些作品的概念和特征结合在一起。视觉共鸣，还有周围丰富的材料。