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Vasaris Triptychon "Bartholomäusnacht" in der Sala Regia als Selbstbildnis des Vatikans: Abbild eines Massakers im Christentum

Vasaris Triptychon "Bartholomäusnacht" in der Sala Regia als Selbstbildnis des Vatikans: Abbild eines Massakers im Christentum

          
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About the Book

Studienarbeit aus dem Jahr 2016 im Fachbereich Geschichte - Weltgeschichte - Allgemeines / Vergleiche, Note: 1,3, Georg-August-Universität Göttingen (Seminar für Mittlere und Neuere Geschichte), Veranstaltung: Masterseminar, Sprache: Deutsch, Abstract: Im Folgenden wird Vasaris Triptychons Kunstwerk der "Bartholomäusnacht" thematisiert. Von einem Kunstwerk, das sich in den wichtigsten Audienzräumen des Apostolischen Palastes befindet, darf angenommen werden, dass es den päpstlichen Auffassungen zu Kernfragen seines Pontifikats entsprach. Doch wieso sollte die höchste religiöse Instanz des Christentums diese Szenen der Ermordung zahlreicher Hugenotten in Paris als so bedeutend betrachten, dass der Papst beschloss diese als Rahmen für seinen Thron malen zu lassen? Hatte das Motiv der Gewalt dabei eine besondere Bedeutung? Welche Verbindung bestand zur Ermordung zahlreicher Hugenotten und dem Papst? Ausgehend von diesen Leitfragen soll anhand des Beispiels bildlicher Kommunikationsformen der Bartholomäusnacht in der Sala Regia in dieser Arbeit gezeigt werden, wie die gewaltsamen Vorgänge der Bartholomäusnacht 1572 in Paris für das Selbstverständnis und -bild des Papsttums aufgegriffen und zu eigenen Zwecken umgedeutet wurden. Auf diese Art soll im Kontext des Pontifikats Gregors XIII.die Sicht auf die darunterliegenden Selbst- und Weltdeutungen der frühneuzeitlichen Herrschafts- bzw. Gesellschaftsschicht am Beispiel der Gewaltdarstellung eröffnet werde. Der Freskenzyklus ist das am wenigsten erforschte Kunstwerk Vasaris. Es ist eines seiner letzten gewesen, bevor er 1574 in Florenz verstarb. Zahlreiche Monografien wie beispielsweise die von Patricia Lee Rubin oder Gerd Blum erwähnen das Kunstwerk auf den letzten Seiten nur nebenbei, ohne ihm eine genauere Besprechung zukommen zu lassen. Der Kunsthistoriker Philipp Fehl sieht dies als indirekte moderne kunsthistorische Kritik am Bildwerk: zu ungenau die Deutungsebenen, zu heikel und verwerflich das Thema. Er betont, da


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Product Details
  • ISBN-13: 9783668499560
  • Publisher: Grin Verlag
  • Publisher Imprint: Grin Verlag
  • Height: 210 mm
  • No of Pages: 32
  • Spine Width: 2 mm
  • Weight: 54 gr
  • ISBN-10: 366849956X
  • Publisher Date: 23 Aug 2017
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Sub Title: Abbild eines Massakers im Christentum
  • Width: 148 mm


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