DOI Artikel:
Mühlemann, Joanna: Opowieść o rycerzu Ereku zachowana na krzyżu z diademów w skarbcu katedry krakowskiej na Wawelu
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19892#0049
demonstrate that historical objects of this kind are the rule. The
medieval works that would transpose the whole literary text - from
beginning to end - into a single iconographic set. are considered as
rare or simply unheard of (here 1 continue to refer to Ott’s statistics).
A consistent detaching of individual threads, scenes, and motives
from all interrelations of the epic plot, and including them in new
sets, the elimination of conflicting moments (upsetting, for instance,
the system of courtly ideals), as well as the suppression of
unconventional elements (e.g. an odd appearance, very peculiar or
unsuitable clothing) and extreme emotional States (e.g. insanity) are
the measures that somehow define the relation of the cyclic
representations based on literary texts to the subject matter depicted
in them. A picture becomes in them the projection of an idea of the
content of a given text and not a reflection of the text itself.
The overall iconographic programme of the crown is presented
in a very lucid manner as a well integrated - in respect of decoration
and meaning - set of three components: figurines of birds repeated
on the tops of the wider and narrower segments. figures of fantastic
creatures filling the sides of the box mounts, and the Arthunan scenes
involved in the narration. An exceptionally high artistic quality,
precision of execution, and superb ąuality of materials enable us
easily to imagine what effect this adomment must have produced as
a sophisticated element of ceremoniał court attire. The object should
without any doubt be linked on the one hand with an exceptionally
experienced, talented. and ambitious master of goldsmith’s art and
on the other with a nch and influential client. It also refers to a
remarkable literary tradition. Assummg that the author of the crown
drew on the Erec of Hartmann von Aue for the plot (and there are
many indications of this being so), we would have here a convincmg
and high-quality testimony to the popularity of the first German
Arthurian romance, in which for a long time no one believed on
account of a paucity of the extant documents.
medieval works that would transpose the whole literary text - from
beginning to end - into a single iconographic set. are considered as
rare or simply unheard of (here 1 continue to refer to Ott’s statistics).
A consistent detaching of individual threads, scenes, and motives
from all interrelations of the epic plot, and including them in new
sets, the elimination of conflicting moments (upsetting, for instance,
the system of courtly ideals), as well as the suppression of
unconventional elements (e.g. an odd appearance, very peculiar or
unsuitable clothing) and extreme emotional States (e.g. insanity) are
the measures that somehow define the relation of the cyclic
representations based on literary texts to the subject matter depicted
in them. A picture becomes in them the projection of an idea of the
content of a given text and not a reflection of the text itself.
The overall iconographic programme of the crown is presented
in a very lucid manner as a well integrated - in respect of decoration
and meaning - set of three components: figurines of birds repeated
on the tops of the wider and narrower segments. figures of fantastic
creatures filling the sides of the box mounts, and the Arthunan scenes
involved in the narration. An exceptionally high artistic quality,
precision of execution, and superb ąuality of materials enable us
easily to imagine what effect this adomment must have produced as
a sophisticated element of ceremoniał court attire. The object should
without any doubt be linked on the one hand with an exceptionally
experienced, talented. and ambitious master of goldsmith’s art and
on the other with a nch and influential client. It also refers to a
remarkable literary tradition. Assummg that the author of the crown
drew on the Erec of Hartmann von Aue for the plot (and there are
many indications of this being so), we would have here a convincmg
and high-quality testimony to the popularity of the first German
Arthurian romance, in which for a long time no one believed on
account of a paucity of the extant documents.