DOI article:
Karp, Julianna: Zarys problematyki ukazywania modlitwy świętych w sztuce nowożytnej
Citation link:https://digi.ub.uni-heidelberg.de/diglit/modus2020/0169
a common goal, which is to arouse a spontaneous reaction in the human heart
through the use of persuasive means. He emphasized that properly presented
emotions potentially evoke in the recipient such feelings as the need to praise,
regret, or hope. This is due to the spontaneous reaction of the mind, which makes
the pictures appear alive, and even morę so, makes them inspire pious feelings.69
In his treatise, Federico Borromeo attributed painting with a didactic role, leading
to an increase in piety, and teaching about the precepts of faith.70 He considered
decorum to be the highest value, meaning the harmony, and the feeling that nothing
needed to be added to the composition or taken away from it.71
On the basis of the above-mentioned treatises by church writers, it can be con-
cluded that naturalism and compliance with historical truth played a significant
role in the theory of art in the post-Tridentine period. In the case of representa-
tions of prayer, these elements also make it possible to read other content that
goes beyond the posturę itself. Not only the posturę in prayer but also, above
all, the “spiritual experience” played a significant role. Specific facial expressions
were among the means of communication used to emphasize the truthfulness
of the event.
Mystic yisions as a conseąuence of prayer
Religious visions are a controversial phenomenon, but they have been present
in the Christian faith almost from the very beginning. Their problematic na-
turę mainly results from the inability to control such phenomena and to verify
them empirically. They are the result of direct communication with God, as
an experience available to one person, and the effects of that experience can
be interpreted in various ways.72 Mystical visions can also take many forms -
from bodily experiences such as stigmata to purely spiritual experiences. As
Gabriella Zarri notes, the factor influencing the iconography of prayers, and
especially of mystical visions, was the growing popularity of internal contem-
plation as well as spiritual exercises proposed by Saint Ignatius of Loyola, Saint
John of the Cross, and Saint Francis de Sales.73 In his work, Ignatius of Loyola
encouraged reflection, to which various sources of spiritual experience have led,
while engaging all senses to imagine evangelical scenes and characters. Their
physical, almost realistic elicitation within the believer’s mind was supposed to
translate into spiritual benefits.74 Yet another method of prayer was proposed
by Saint John of the Cross, who introduced a distinction in the representations
available to man - into those supernatural, being beyond the human senses,
and those natural, using the senses for a deeper experience.75 There is a elear
distinction here between the inner, silent prayer, and a deeper contemplation,
69 Ibidem, pp. 39-41.
70 Ibidem, p. 133.
71 Ibidem, p. 9.
72 A. Kramiszewska, Visio religiosa w polskiej sztuce barokowej. Ze studiów nad ikonografią
hagiograficzną, Lublin 2003 (= Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego,
Prace Wydziału Historyczno-Filologicznego, 102), p. 11.
73 S.E Matthews Grieco, Models ofFemale Sanctity, pp. 159-160.
74 I. Loyola, Ćwiczenia duchowe, pp. 52-53; F. Conrod, Loyolas Greater Narrative. The Architec-
ture of the “Spiritual Exercises” in Golden Age and Enlightenment Literaturę, New York 2008,
pp. 15-16.
75 św. Jan od Krzyża, Dzieła, p. 222.
An outline of issues pertaining to representations of saints at prayer...
169
through the use of persuasive means. He emphasized that properly presented
emotions potentially evoke in the recipient such feelings as the need to praise,
regret, or hope. This is due to the spontaneous reaction of the mind, which makes
the pictures appear alive, and even morę so, makes them inspire pious feelings.69
In his treatise, Federico Borromeo attributed painting with a didactic role, leading
to an increase in piety, and teaching about the precepts of faith.70 He considered
decorum to be the highest value, meaning the harmony, and the feeling that nothing
needed to be added to the composition or taken away from it.71
On the basis of the above-mentioned treatises by church writers, it can be con-
cluded that naturalism and compliance with historical truth played a significant
role in the theory of art in the post-Tridentine period. In the case of representa-
tions of prayer, these elements also make it possible to read other content that
goes beyond the posturę itself. Not only the posturę in prayer but also, above
all, the “spiritual experience” played a significant role. Specific facial expressions
were among the means of communication used to emphasize the truthfulness
of the event.
Mystic yisions as a conseąuence of prayer
Religious visions are a controversial phenomenon, but they have been present
in the Christian faith almost from the very beginning. Their problematic na-
turę mainly results from the inability to control such phenomena and to verify
them empirically. They are the result of direct communication with God, as
an experience available to one person, and the effects of that experience can
be interpreted in various ways.72 Mystical visions can also take many forms -
from bodily experiences such as stigmata to purely spiritual experiences. As
Gabriella Zarri notes, the factor influencing the iconography of prayers, and
especially of mystical visions, was the growing popularity of internal contem-
plation as well as spiritual exercises proposed by Saint Ignatius of Loyola, Saint
John of the Cross, and Saint Francis de Sales.73 In his work, Ignatius of Loyola
encouraged reflection, to which various sources of spiritual experience have led,
while engaging all senses to imagine evangelical scenes and characters. Their
physical, almost realistic elicitation within the believer’s mind was supposed to
translate into spiritual benefits.74 Yet another method of prayer was proposed
by Saint John of the Cross, who introduced a distinction in the representations
available to man - into those supernatural, being beyond the human senses,
and those natural, using the senses for a deeper experience.75 There is a elear
distinction here between the inner, silent prayer, and a deeper contemplation,
69 Ibidem, pp. 39-41.
70 Ibidem, p. 133.
71 Ibidem, p. 9.
72 A. Kramiszewska, Visio religiosa w polskiej sztuce barokowej. Ze studiów nad ikonografią
hagiograficzną, Lublin 2003 (= Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego,
Prace Wydziału Historyczno-Filologicznego, 102), p. 11.
73 S.E Matthews Grieco, Models ofFemale Sanctity, pp. 159-160.
74 I. Loyola, Ćwiczenia duchowe, pp. 52-53; F. Conrod, Loyolas Greater Narrative. The Architec-
ture of the “Spiritual Exercises” in Golden Age and Enlightenment Literaturę, New York 2008,
pp. 15-16.
75 św. Jan od Krzyża, Dzieła, p. 222.
An outline of issues pertaining to representations of saints at prayer...
169