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DOI Artikel:Mazurczak, Urszula M.: Metafory ciała: głowa-twarz na wybranych przykładach malarstwa Duccia i Giotta
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.37085#0083
METAFORY CIAŁA: GŁOWA-TWARZ
THE HEAD-FACE BODY METAPHORS
IN SELECTED PAINTININGS BY DUCCIO AND GIOTTO
S u m m a r y
~ The body and carnality in art, especially in the Middle Ages, have been researched widely
over the past decade. The list includes, among others, such seminal works as those by V. Da-
sen, J. Wilgaux, N. Laneyrie-Dagen, G. Didi-Huberman, J. J. Courtine, C. Haroche. Also, the
author of this paper has published on the topie. As a research problem, the body is not limited
to the issue of nakedness. Neither is it reducible to the ąuestion of the generał conception of
painting the body - whether human or divine, and whether it matches the cłassical conception
(that assumes some ideał reproduction of the body, in harmony with proportions and with the
human naturę) or not. Medieval art betrays dełiberate deformations from the cłassical canon.
Some of them have been named styles, when an artist was said to have purposefully transgres-
sed the cłassical conception. Other distortions have been pronounced failures to properly
artisticałly reconstruct the human body, due to the łąck of proper education in Antiąue cłassi-
cal art.
The way in which the body is reconstructed artisticałly implies its role in the composition
as a whole, including the relation between the painted figurę to the other people presented in
the painting (accompanying persons or random witnesses of a scene). It was the logie of the
content that dictated the fashion in which divine and human figures were presented. This con-
vention was also of use in presenting the head-face element as the most important body part.
It was the head and the face where the content and the symbolic message, along with all body-
-related metaphors, were cumułated. The off-side figures and the passers-by were depicted in
their individual, natural portrayals and were not bound by the artistic or dogmatic convention
or message. These variations in the way in which the head-face element was artisticałly recon-
structed in paintings are discussed and illustrated with the use of a selection of works by
Duccio and Giotto.
Translated by Konrad Klimkowski
Słowa kluczowe: ciało, cielesność, uczucia, wrażenia, fizjonomia.
Key words: body and carnality, feelings and emotions, sensations, physiognomy.
THE HEAD-FACE BODY METAPHORS
IN SELECTED PAINTININGS BY DUCCIO AND GIOTTO
S u m m a r y
~ The body and carnality in art, especially in the Middle Ages, have been researched widely
over the past decade. The list includes, among others, such seminal works as those by V. Da-
sen, J. Wilgaux, N. Laneyrie-Dagen, G. Didi-Huberman, J. J. Courtine, C. Haroche. Also, the
author of this paper has published on the topie. As a research problem, the body is not limited
to the issue of nakedness. Neither is it reducible to the ąuestion of the generał conception of
painting the body - whether human or divine, and whether it matches the cłassical conception
(that assumes some ideał reproduction of the body, in harmony with proportions and with the
human naturę) or not. Medieval art betrays dełiberate deformations from the cłassical canon.
Some of them have been named styles, when an artist was said to have purposefully transgres-
sed the cłassical conception. Other distortions have been pronounced failures to properly
artisticałly reconstruct the human body, due to the łąck of proper education in Antiąue cłassi-
cal art.
The way in which the body is reconstructed artisticałly implies its role in the composition
as a whole, including the relation between the painted figurę to the other people presented in
the painting (accompanying persons or random witnesses of a scene). It was the logie of the
content that dictated the fashion in which divine and human figures were presented. This con-
vention was also of use in presenting the head-face element as the most important body part.
It was the head and the face where the content and the symbolic message, along with all body-
-related metaphors, were cumułated. The off-side figures and the passers-by were depicted in
their individual, natural portrayals and were not bound by the artistic or dogmatic convention
or message. These variations in the way in which the head-face element was artisticałly recon-
structed in paintings are discussed and illustrated with the use of a selection of works by
Duccio and Giotto.
Translated by Konrad Klimkowski
Słowa kluczowe: ciało, cielesność, uczucia, wrażenia, fizjonomia.
Key words: body and carnality, feelings and emotions, sensations, physiognomy.