 |
 |
medieval-religion: Scholarly discussions of medieval religion and culture********************************************************************** To join the list, send the message: subscribe medieval-religion YOUR NAME to: [log in to unmask] To send a message to the list, address it to: [log in to unmask] To leave the list, send the message: unsubscribe medieval-religion to: [log in to unmask] In order to report problems or to contact the list's owners, write to: [log in to unmask] For further information, visit our web site: http://www.jiscmail.ac.uk/medieval-religionDear Cate,
You wrote:
"I assume the ‘redemption of Adam’ etc is that which is known as the Harrowing of Hell, which is depicted in this rare 13th century wall painting on the east wall of a small church in Suffolk:
By "the redemption of Adam and other righteous" I meant the event in which humankind's universal redemption by the shedding of Christ's blood (cf. Ephesians 1:7) was effectuated for the righteous who were already dead (note that in this formulation I'm neither adopting nor rejecting the view that the deceased recipients of this grace included not just the righteous but rather all humans who had already died). One can imagine that this happened in ways other than an assault on a defended underworld whose iron-bound metal metal doors were broken by the Lord mighty in battle (the Harrowing [i.e. Harrying] of Hell as recounted in texts forming part of the _Acta Pilati_ / _Gospel of Nicodemus_ complex). So to the extent that "that which is known as the Harrowing of Hell" (your formulation) is that which is described in terms of texts called the Harrowing of Hell, that "that" is only a construction of the aforementioned event. It is not identical with the event itself.
Thanks for the view of the wall painting at Brent Eleigh, Suffolk. I would take issue, though, with the characterization of it as "rare" (_tout court_). Surviving medieval wall paintings of this subject may be rare in England but as a generality they are rather less so. In the post to which you were responding I offered twenty-four examples of images of the redemption of the deceased righteous (see <http://tinyurl.com/j8nyqvy>). Sixteen of these are wall paintings and another is on a pier in a church. One could adduce many more such wall paintings in a range extending from Scandinavia to Sicily and from Russia (if you include vault paintings) to Sudan. Here's a fairly well-known earlier fifteenth-century instance in Florence, Italy:
https://upload.wikimedia.org/wikipedia/commons/a/af/Fra_Angelico_024.jpg
Best,
John Dillon
PS: Another English example, in the church of Sts Peter and Paul, Pickering (N Yorks):
http://gadling.com/wp-content/uploads/2011/10/64-pickering-harrowing-of-hell.jpg
https://readingmedievalbooks.files.wordpress.com/2013/12/pickering-4937.jpg
From: medieval-religion - Scholarly discussions of medieval religious culture <[log in to unmask]> on behalf of Cate Gunn <[log in to unmask]>
Sent: Monday, March 28, 2016 11:40 AM
To: [log in to unmask]
Subject: Re: [M-R] FEAST - A Saint for the Day (March 27, 2016): The Resurrectionmedieval-religion: Scholarly discussions of medieval religion and cultureI assume the ‘redemption of Adam’ etc is that which is known as the Harrowing of Hell, which is depicted in this rare 13th century wall painting on the east wall of a small church in Suffolk:
On 27 Mar 2016, at 10:58, John Dillon <[log in to unmask]> wrote:
medieval-religion: Scholarly discussions of medieval religion and culture
In the Roman church and in many other Christian churches today, 27. March 2016, is Easter Sunday. Herewith links to a few medieval images of the Anastasis (literally, "Rising Up"). These focus on Christ's redemption of Adam and other deceased righteous, an event principally celebrated on Holy Saturday in many churches but on Easter Sunday in the Italo-Albanian church:
a) as depicted in an eighth-century fresco in Rome's chiesa di Santa Maria Antiqua:
http://www.orthodoxartsjournal.org/wp-content/uploads/2014/01/anastasis-epix.jpg
b) as depicted (at center and at right) in an eighth- or ninth-century fresco in the lower church of the basilica di San Clemente in Rome:
http://tinyurl.com/jh4scys
http://www.basilicasanclemente.com/eng/images/discesa-al-limbo.png
c) as depicted in a late tenth-century Exultet roll from Benevento (ca. 981-987; Città del Vaticano, BAV, cod. Vat. lat. 9820):
http://s589.photobucket.com/user/_corso_/media/ressur.gif.html
d) as depicted in an earlier eleventh-century mosaic (carefully restored betw. 1953 and 1962) in the narthex of the katholikon of the monastery of Hosios Loukas near Distomo in Phokis:
http://tinyurl.com/zek42jx
e) as depicted in an earlier eleventh-century Exultet roll from Bari (ca. 1025; Bari, Archivio del Capitolo metropolitano, rotolo Exultet nr. 1):
http://picasaweb.google.com/lh/photo/TKp2EGdeA-KHVcBc7Tysi7GbI-lPuI3LY98R0RJgsgU
f) as depicted in the mid-eleventh-century mosaics in the katholikon of the Nea Moni on Chios:
http://www.eikonografos.com/album/albums/uploads/nea_moni/71.jpg
g) as depicted in a later eleventh-century fresco in the Karanlýk kilise (Dark Church) at Göreme in Turkey's Nevþehir province (two images, each showing matter absent from the other):
http://www.goreme.org/churches/karanlik/karanlik5.jpg
http://www.pbase.com/dosseman/image/41566370/original
h) as portrayed on the earlier twelfth-century baptismal font in the Stiftskirche St. Bonifatius in Freckenhorst (Lkr. Warendorf) in Westphalia:
http://www.flickr.com/photos/martin-m-miles/5750272086
i) as depicted in an earlier twelfth-century fresco (ca. 1130-ca.1140) in the narthex of the Transfiguration cathedral in the Mirozhsky monastery in Pskov:
http://images.icon-art.info/main/01000-01099/01024.jpg
j) as depicted in a late twelfth-century mosaic (ca. 1180-ca. 1200) in the basilica cattedrale di San Marco in Venice:
http://tinyurl.com/mld7q3z
k) in the probably late twelfth-century Last Judgement mosaic (ca. 1180-ca. 1200; later restorations) in the basilica di Santa Maria Assunta on Venice's northern island of Torcello:
http://tinyurl.com/hmyh7ve
l) as depicted by Nicholas of Verdun on an enameled plaque of his late twelfth-century altarpiece (ca. 1181) in the Stiftsmuseum, Klosterneuburg (Land Niederösterreich):
http://tinyurl.com/jzog8ox
m) as depicted in a late twelfth-century fresco (ca. 1191) in the church of St. George at Kurbinovo (Resen municipality) in the Former Yugoslav Republic of Macedonia:
http://tinyurl.com/msur2fz
n) as depicted in the later thirteenth-century frescoes (ca. 1270-1290) in the chiesa di San Tommaso Apostolo (san Tommaso in Varano) at Caramanico Terme (PE) in Abruzzo:
https://www.flickr.com/photos/peetastn/17430251472
Context in the church:
http://tinyurl.com/zmeucve
o) as depicted in a late thirteenth- or very early fourteenth-century fresco (ca. 1300), attributed to Manuel Panselinos, in the Protaton church on Mt. Athos:
http://tinyurl.com/nyf8qmf
p) as depicted by Duccio di Buoninsegna in a panel on the reverse of the central portion of his dismembered early fourteenth-century Maestà altarpiece (betw. 1308 and 1311) in the Museo dell'Opera del Duomo in Siena:
http://tinyurl.com/hf4p4gs
q) as depicted by Pietro Lorenzetti in an early fourteenth-century fresco (ca. 1310-1313) in the lower church of the basilica di San Francesco in Assisi:
http://tinyurl.com/gtr6zgt
r) as depicted in an early fourteenth-century fresco (ca. 1313-ca. 1320) by Michael Astrapas and Eutychios in the altar area of the King's Church (dedicated to Sts. Joachim and Anne) at the Studenica monastery near Kraljevo (Raška dist.) in Serbia:
http://tinyurl.com/ol4jefd
s) as depicted in a damaged earlier fourteenth-century fresco (ca. 1314 or betw. 1328 and 1334) in the church of the Holy Apostles in Thessaloniki:
https://plus.google.com/photos/110067756467697073060/album/5244943108289076881/5244958172502989138
t) as depicted in an early fourteenth-century fresco (betw. 1315 and 1321) in the apse of the parekklesion of the Chora church in Istanbul:
http://upload.wikimedia.org/wikipedia/commons/5/5c/Chora_Anastasis1.jpg
u) as depicted in an earlier fourteenth-century pictorial menologion from Thessaloniki (betw. 1322 and 1340; Oxford, Bodleian Library, MS Gr. th. f. 1, fol. 4v):
http://image.ox.ac.uk/images/bodleian/msgrthf1/4v.jpg
v) as depicted in an earlier fourteenth-century fresco (1330s) in the church of the Hodegetria in the Patriarchate of Peć at Peć in, depending upon one's view of the matter, either Serbia's province of Kosovo and Metohija or the Republic of Kosovo:
http://tinyurl.com/2drcobt
w) as depicted (upper register) in a mid- to later fourteenth-century fresco (ca. 1341-1370) in a rupestrian church in the St. Michael Archangel monastery in Ivanovo, Bulgaria:
https://thewonderoftruth.files.wordpress.com/2015/07/rusenski-085213.jpg
x) as depicted in a mid- to later fourteenth-century icon (ca. 1350-1384) in the Walters Art Museum, Baltimore:
http://art.thewalters.org/detail/9120/resurrection-of-christ/
https://www.flickr.com/photos/leonandloisphotos/13729566804
y) as depicted in the later fourteenth-century frescoes (1360s and 1370s; restored in 1968-1970) in the church of St. Demetrius in Marko's Monastery at Markova Sušica (near Skopje) in the Former Yugoslav Republic of Macedonia:
http://tinyurl.com/hfqdlpo
z) as depicted in a later fifteenth-century icon, attributed to Andreas Ritzos, in the State Hermitage Museum in St. Petersburg:
http://www.webalice.it/giovanni.fabriani/icone/Anastasis Bisanzio Sinai XV.jpg
http://www.templegallery.com/main.php?mode=5&p1=xmas2011/1970_fig_d.jpg
Christos anesti!
Christus resurrexit!
Best,
John Dillon
