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| [Text Buchrücken:] "Under senare hälften av 1300-talet uppstod inom konsten under inflytande av passionsfromhet och mystik nya motiv, bilder inför vilka den fromme förrättade sin andakt. Till dem hörde den offrade, från korset nedtagne, marterade Kristus, Smärtomannen, framvisad av Fadern. Nådafadern, som Gundis Bringéus benämner denna bildtyp, illustrerar grundvalen i den kristna tron: Fadern framvisande den för människornas frälsning offrade Sonen. Härigenom är motivet ett av de viktigaste inom den kristna konsten. Mot bakgrund av det senmedeltida fromhetslivet och passionsmystiken på kontinenten analyserar författaren Nådafadersmotivet inom träskulpturen och kalkmåleriet i Norden. Hon påvisar, att det redan från början sammanfördes med Madonnan med barnet. Härigenom kopplas början och slutet av Kristi liv samman. Motivet har varit tämligen obeaktat inom konstvetenskapen och har felaktigt tolkats som en variant av Nådastolen, som är en representativ treenighetsframställning. Avhandlingen visar andaktsbildernas betydelse för medeltidens människa. Den illustreras av ett hundratal bilder, varav tjugofem i färg" [Aus dem Abstract:] "This dissertation deals with a late medieval motif of Passion, which until now has been very little noticed. It does not even have a name of its own. It has usually been assigned a place within another motif found from the early 12th century, a very different configuration: the Throne of Grace. [...] The author has given it the name of the Father of Mercy. [...] The Father of Mercy is quite another motif, a Passion image, a devotional image, originating in late medieval mysticism and passion piety, whereas the Throne of Grace is an image of representation, of cult, with another purpose. As background to the appearance of the Father of Mercy the most important features of late medieval passion piety are described and the concept of devotional images is discussed. As the Father of Mercy consists of two main parts, the Father and the Son, depicted as the the Man of Sorrows, the appearance and iconographical development of this latter motif has also been described. In the main part of the treatise the Father of Mercy has, on the basis of an inventory of all objects in the Scandinavian countries relating to wooden sculpture, wallpainting and parament, been analysed in regard to its seating, context and execution. A collection of European objects has been used for comparison. [...] The dissertation contains ten catalogues with comprehensive descriptions of Man of Sorrows motif as well as of Father of Mercy motifs made in every material. There are one hundred and six pictures of which twenty are colourplates" |
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