Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus
Title in English: The Altarpiece from Andenes. A Liturgical Reading of its Iconography. – The article discusses the liturgical function of the motif of Notgottes, and the connection between this and the St. Olav iconography. The discussion focusses on the altarpiece from Andenes (Nordland, Norway...
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| Format: | Article |
| Language: | Danish |
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Lund University
2016-08-01
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| Series: | ICO Iconographisk Post |
| Subjects: | |
| Online Access: | https://journals.lub.lu.se/ico/article/view/25613/22513 |
| _version_ | 1797326457869959168 |
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| author | Per Olav Folgerø |
| author_facet | Per Olav Folgerø |
| author_sort | Per Olav Folgerø |
| collection | DOAJ |
| description | Title in English: The Altarpiece from Andenes. A Liturgical Reading of its Iconography.
– The article discusses the liturgical function of the motif of Notgottes, and the connection between this and the St. Olav iconography. The discussion focusses on the altarpiece from Andenes (Nordland, Norway, about 1500), now in the Tromsø museum’s church collection. It consists of predella, corpus and doors that can be opened, i.e. it could be described as a “hinged triptych”. The corpus consists of wooden sculptures: (from the beholder’s left) a holy bishop, God the Father holding the dead Christ as Schmerzensmann in His arms (a motif also called Notgottes), St. Olav and St. Magnus Earl of Orkney. On the inner side of the doors there are four painted scenes from the Passion of Christ, and the outside likewise figures four passion scenes including a crucifixion, which has been interpreted (by Patrik Reuterswärd 1980) as St. Olav’s passion according to a contemporary text. The altarpiece thus may illustrate St. Olav as imitatio Christi. The sculptural group almost certainly also included an angel with a chalice in his hands collecting blood from the wounds of Christ, represented as red threads (chalice and threads now lost). This detail indicates a nexus between the angel and the content of a prayer in the core of the Eucharistic cycle, the Súpplices te rogámus, asking for God’s acceptance of the gifts lifted by “the hands of an angel to the Altar of Heaven”. |
| first_indexed | 2024-03-08T06:24:29Z |
| format | Article |
| id | doaj.art-a37f05202997481fb92d32898581c318 |
| institution | Directory Open Access Journal |
| issn | 2323-5586 |
| language | Danish |
| last_indexed | 2024-03-08T06:24:29Z |
| publishDate | 2016-08-01 |
| publisher | Lund University |
| record_format | Article |
| series | ICO Iconographisk Post |
| spelling | doaj.art-a37f05202997481fb92d32898581c3182024-02-03T15:09:34ZdanLund UniversityICO Iconographisk Post2323-55862016-08-011, 20163449Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpusPer Olav Folgerø0University of Bergen, NorwayTitle in English: The Altarpiece from Andenes. A Liturgical Reading of its Iconography. – The article discusses the liturgical function of the motif of Notgottes, and the connection between this and the St. Olav iconography. The discussion focusses on the altarpiece from Andenes (Nordland, Norway, about 1500), now in the Tromsø museum’s church collection. It consists of predella, corpus and doors that can be opened, i.e. it could be described as a “hinged triptych”. The corpus consists of wooden sculptures: (from the beholder’s left) a holy bishop, God the Father holding the dead Christ as Schmerzensmann in His arms (a motif also called Notgottes), St. Olav and St. Magnus Earl of Orkney. On the inner side of the doors there are four painted scenes from the Passion of Christ, and the outside likewise figures four passion scenes including a crucifixion, which has been interpreted (by Patrik Reuterswärd 1980) as St. Olav’s passion according to a contemporary text. The altarpiece thus may illustrate St. Olav as imitatio Christi. The sculptural group almost certainly also included an angel with a chalice in his hands collecting blood from the wounds of Christ, represented as red threads (chalice and threads now lost). This detail indicates a nexus between the angel and the content of a prayer in the core of the Eucharistic cycle, the Súpplices te rogámus, asking for God’s acceptance of the gifts lifted by “the hands of an angel to the Altar of Heaven”.https://journals.lub.lu.se/ico/article/view/25613/22513st. olavimitatio christinotgottesliturg yeucharistcanonsúpplices te rogámus |
| spellingShingle | Per Olav Folgerø Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus ICO Iconographisk Post st. olav imitatio christi notgottes liturg y eucharist canon súpplices te rogámus |
| title | Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus |
| title_full | Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus |
| title_fullStr | Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus |
| title_full_unstemmed | Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus |
| title_short | Alterskapet fra Andenes. En liturgisk lesning av skapets ikonografi med hovedvekt på Nådefader-gruppen i skapets corpus |
| title_sort | alterskapet fra andenes en liturgisk lesning av skapets ikonografi med hovedvekt pa nadefader gruppen i skapets corpus |
| topic | st. olav imitatio christi notgottes liturg y eucharist canon súpplices te rogámus |
| url | https://journals.lub.lu.se/ico/article/view/25613/22513 |
| work_keys_str_mv | AT perolavfolgerø alterskapetfraandenesenliturgisklesningavskapetsikonografimedhovedvektpanadefadergruppeniskapetscorpus |