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Keywords = gothic portal

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15 pages, 7892 KB  
Article
The St. Honoré Portal at Amiens Cathedral and Its Reception
by Gili Shalom
Religions 2024, 15(5), 536; https://doi.org/10.3390/rel15050536 - 26 Apr 2024
Viewed by 4701
Abstract
This article discusses the depictions of healings on the St. Honoré portal at Amiens Cathedral (post-1240) and the visual strategies by which its viewers were invited to participate in the saint’s cult. I contend that the carved figures who gaze or gesture beyond [...] Read more.
This article discusses the depictions of healings on the St. Honoré portal at Amiens Cathedral (post-1240) and the visual strategies by which its viewers were invited to participate in the saint’s cult. I contend that the carved figures who gaze or gesture beyond the borders of the tympanum invited the active participation of a broad audience of spectators: male and female, young and old, rich and poor, clerical and lay, and disabled and hale. Moreover, I argue that by referencing both the saint’s vita and more contemporary miracle accounts, the sculptures negotiated between the historical past and the Gothic present, allowing the viewers to share in the hope for a miraculous cure. Full article
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24 pages, 3238 KB  
Article
Paradisi porta—An Iconographic Analysis of Mary as a Humanity’s Mediator in the Light of Medieval Liturgical Hymns
by José María Salvador-González
Religions 2023, 14(2), 284; https://doi.org/10.3390/rel14020284 - 20 Feb 2023
Cited by 1 | Viewed by 4079
Abstract
This article aims to highlight the rich doctrinal meanings underlying the textual and iconic designation of the Virgin Mary as the gate of Heaven, a highly brilliant metaphor used by writers and artists to symbolize her saving mediation before her divine Son on [...] Read more.
This article aims to highlight the rich doctrinal meanings underlying the textual and iconic designation of the Virgin Mary as the gate of Heaven, a highly brilliant metaphor used by writers and artists to symbolize her saving mediation before her divine Son on behalf of humankind. To justify our interpretations of this textual and iconic symbol, we will proceed first by analyzing an abundant set of fragments of medieval liturgical hymns, which designate the Virgin Mary as the “gate of Paradise” (porta Paradisi) or “gate of Heaven” (ianua Coeli) and other expressions alluding to her power to facilitate the eternal salvation of the faithful. In a second step, we will analyze ten sculptural and pictorial artworks that represent Mary as the gate of celestial paradise or the mediator before God in favor of believers to facilitate their eternal salvation. Full article
(This article belongs to the Special Issue Material Culture and Religion: Perspectives over Time)
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