Podobe pekla Hieronymusa Boscha

diplomsko delo

Job Fridl Jarc (Author), Tine Germ (Mentor)

Abstract

Pričujoča diplomska naloga osvetljuje podobe pekla pri slikarju Hieronymusu Boschu. Raziskovalni vidik je osredotočen na umetnikovo ustvarjalnost brez časovnih zamejitev njegovega opusa, pač pa je izrazito tematsko zamejen na človeški greh in način njegovega kaznovanja. V ospredju je pekel, a diskurz o njem je v triadni topografiji Svetega pisma vedno povezan tudi z vprašanjem vic in nebes, z etičnega vidika pa s problemom človeške grešnosti in kazni zanjo. Boschevo slikarstvo na temo pekla je umeščeno v širši kontekst religioznega in filozofskega ustroja družbe tistega časa. Izpostavljena je Boscheva vloga v bratovščini Confraternitas fratrum beate Marie, kar nakazuje na njegovo potrebo po skupni veri. V nadaljevanju se diploma osredotoča na Boscheve slike s tematiko pekla, med njimi Sedem smrtnih grehov in štiri poslednje reči, Triptih s skušnjavami sv. Antona Puščavnika, Triptih Senenega voza in Triptih Vrt naslad, katere rezultati še bolj poudarijo glavno tezo naloge, da so podobe pekla pri Boschu izraz njegove globoke vere in ne njegove herezije, zato je njegov pekel izrazito apokaliptičen. V tem pogledu se večinoma razlikujejo od Dantejevih besednih upodobitev pekla v njegovi Božanski komediji in so veliko bolj izrazito oprte na spoznanje o norosti sveta pri Erazmu Rotterdamskem in Hojo za Kristusom Tomaža Kempčana. Dantejevi pesniški viziji pekla se še najbolj približa na dveh tablah za beneškega kardinala Grimanija Padec prekletih in Prekleti v peklu, ki ju Bosch prejkone naslika v romantizirani, tragični maniri, brez zanj značilnega sadizma in neizprosne apokaliptičnosti greha in kazni, a sta v njegovem upodabljanju pekla prejkone izjemi. V diplomskem delu je mestoma v ospredju komparativna metoda, ki temelji na iskanju širšega duhovnozgodovinskega konteksta za Boschevo upodabljanje pekla, v drugem delu, ki je posvečen posameznim slikam, pa prevladuje analitični vidik.

Keywords

umetnostna zgodovina;renesančno slikarstvo;ikonografija;pekel;apokalipsa;diplomska dela;Bosch;Hieronymus;1450-1516;

Data

Language:	Slovenian
Year of publishing:	2022
Typology:	2.11 - Undergraduate Thesis
Organization:	UL FF - Faculty of Arts
Publisher:	[J. Fridl Jarc]
UDC:	75.04:27-188.7(043.2)
COBISS:	127056643
Views:	24
Downloads:	9
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Hieronymus Bosch and Images of Hell
Secondary abstract:	This degree paper deals with images of Hell by Hieronymus Bosch. The focus of the research is the artist's work regardless of the period of creation. It is specifically limited by the theme of human sin and the way sins were punished. Hell is in the centre of the degree paper, its understanding is based on triadic structure of the Bible, always including the question of Purgatory and Heaven, and from the ethical point of view it questions problems of human sinfulness, and the ways sins are being punished. Paintings by Hieronymus Bosch with Hell as their subject are viewed in a wider spectrum of religious and philosophical aspects of society of that time. Bosch's role in the Brotherhood Confraternitas fratrum beate Marie indicates his need for common religious faith. The paintings Seven Deadly Sins and the Four Last Things, Triptych Temptation of Saint Anthony, The Haywain Triptych and Triptych The Garden of Earthly Delight accentuate the main theme of the degree paper: Bosch's images of Hell are the consequence of the artist's deep faith and not of his heresy. This is why his hell is distinctly apocalyptic. From this point of view Bosch's painting differs from Dante's poetic descriptions of Hell in his Divine Comedy. Bosch includes recognition of the madness of the world, noted by Erasmus of Rotterdam or by Tomas Kemp. Bosch comes closer to Dante at the paintings for Cardinal Grimmani Fall of the Damned into Hell and Damned in Hell, which he painted in romanticised, tragic mannerism, without sadistic overtone, so characteristic for him, and without his inexorable apocalyptical sin and punishment. Such visons of Hell are more or less unique in Bosch's opus. Comparative methods were used here and there, searching for wider spiritual and historic content of Bosch's expression of hell. In the second part of the degree paper the analytic approach to individual paintings has been taken.
Secondary keywords:	art history;Renaissance painting;iconography;hell;apocalypse;
Type (COBISS):	Bachelor thesis/paper
Study programme:	1011027
Embargo end date (OpenAIRE):	1970-01-01
Thesis comment:	Univ. v Ljubljani, Filozofska fak., Oddelek za umetnostno zgodovino
Pages:	62 str.
ID:	16608074