Sveti in posvetni: podobe družine v navezavi na sakralne motive poznosrednjeveške pobožnosti


  • Marjana Dolšina Gimnazija Kočevje


Ključne besede:

družina, otroštvo, Sveta družina, Sveto sorodstvo, Ana Samotretja


Due to its religious orientation, medieval art did not lay much stress on images of quotidian life, since it was too banal to be placed within the depictions in sacral scenes. In spite of all this, it cannot be claimed that the late-medieval society did not deal with issues of family matters and all other related topics – even if these matters were not discussed in written texts, much less in artistic depictions. Even so, through an attentive observation one can recognize obvious parallels to contemporary earthly life. Therefore, the “Holy” can tell us much about their earthly representatives. The nearest paradigm can be found in the iconography of the Holy Family, which represents an ideal model for a secular medieval family. Wider social structures are richly represented as well, most notably in the motif of the Holy Kinship: Jesus, His relatives, and recent ancestors are distinguished by rich genre details and intensive social interactions as if we were observing an ordinary family meeting. The scenes are often reduced to their core idea: The Virgin and Child with St. Anne. All of the art works discussed in this paper represented bases for further development of genre depictions of the modern era.


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Biografija avtorja

Marjana Dolšina, Gimnazija Kočevje

Marjana Dolšina je leta 2010 na Filozofski fakulteti UL diplomirala iz umetnostne zgodovine, in sicer na temo »Od miniaturnega odraslega do otroka: upodobitve otrok v srednjeveški upodabljajoči umetnosti s posebnim ozirom na ozemlje današnje Slovenije in sosednje pokrajine« pri mentorici red. prof. ddr. Nataši Golob. Od leta 2008 je zaposlena na Gimnaziji Kočevje, kjer poučuje umetnostno zgodovino in likovno umetnost.




Kako citirati

Dolšina, M. . (2012). Sveti in posvetni: podobe družine v navezavi na sakralne motive poznosrednjeveške pobožnosti. Ars & Humanitas, 6(2), 125–139.