Мадонна с младенцем на троне

ca. 1175–1200
On view at The Met Fifth Avenue in Gallery 304
Эта композиция с Иисусом, неподвижно сидящим на коленях Девы Марии, — не просто изображение матери и дитя; она подчеркивает воплощение божественной Мудрости в Младенце Христе. Для усиления послания в руках у Иисуса могла бы быть книга. Скульптура передает строгую красоту в ритмичном узоре одеяния Девы, изящной вуали, обрамляющей ее лицо, и сохранившихся следах краски, особенно заметных на зеленой подушке. Такие статуи использовались в богослужениях и выносились на церковных процессиях. Данный образ возможно использовался для хранения церковных реликвий: у фигуры есть две пустоты, одна за плечом Мадонны, другая у нее на груди.

Artwork Details

Object Information
  • Название: Мадонна с младенцем на троне
  • Дата: около 1150–1200 гг.
  • География: Овернь
  • Культура: Франция
  • Материал: Грецкий орех, краска, гипс, холст
  • Размер: 79,5 x 31,7 x 29,2 см
  • Благодарность: Дар Дж. Пирпонта Моргана, 1916
  • Номер объекта: 16.32.194a, b
  • Curatorial Department: Medieval Art and The Cloisters

Audio

Доступно только в: English
Cover Image for 82. Virgin and Child in Majesty, Part 1

82. Virgin and Child in Majesty, Part 1

Gallery 304

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ED VESSEL: The brain is intimately attuned to the minute differences in shape and arrangement of the hands. For example, understanding the particular meaning conveyed by particular hand grasps.

NARRATOR: Due to the condition of this sculpture, some important hand gestures have been lost.

GRIFFITH MANN: You see the hands of the Virgin Mary reaching around to hold the Christ Child, but Christ's arms and hands are missing. His right hand, which is extended towards us, would have been making a gesture of blessing, with two fingers raised up. And then his left hand probably would have been holding a book representing the Word made Flesh in the figure of Christ.

MELANIE HOLCOMB: The hand is a powerful symbol for a Medieval viewer. Many, many images from the Middle Ages will sometimes only represent God by a hand, because the hand suggests that we can't understand the whole body, the whole outline of God.

NARRATOR: Learn about this sculpture’s context. Press play.

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