Motiv raja v Poslednji sodbi Fra Angelica
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| Title | Motiv raja v Poslednji sodbi Fra Angelica |
| Authors | |
| Abstract | This article defines the possible sources for the unique depiction of paradise in the painting The Last Judgment by Fra Angelico. It defines the artist’s notion of paradise, which developed into a specific eschatological concept under the infl uence of apocalyptic writings during the Middle Ages, promising eternal blessedness to those that followed the steps of Christian moral values. Furthermore, an iconological analysis provides a possible explanation of the motif through the painting’s liturgical function. An extraordinarily rich theological, literary, and artistic tradition informed the artist’s conception of the Last Judgment. The doctrine and the iconographic features are supported by many passages from the apocalyptic sections of Bible, which, together with Dante’s intense visual imagery and various hymns, provided a source for the artist’s interpretation of the motif. Fra Angelico in general followed traditional iconography, but gave a unique depiction of paradise consisting of two parts: terrestrial paradise and Heavenly Jerusalem. In the early writings of the fathers of the Greek church, the notion of the third heaven can be found. It is the place of waiting for the righteous souls, but not the final destination. In the writings of Aquinas, the distinction between the earthly paradise and caelum empyreum is presented. Dante’s epic masterpiece also makes the same distinction. Earthly paradise is placed at the top of the mount of Purgatory, a reward for proper moral behavior. The unusual depiction of terrestrial paradise—in which the elliptical movement of dancing souls on fl owery meadows in a calm and serene composition, in which realism is strongly accentuated, is realized in the painting—has no visual parallel elsewhere. Because of its liturgical character, the painting carries the character of mystery far beyond the narrative function. Following the conventions of Byzantine-derived iconic art and based on Dominican knowledge, the painting is not an illustration of textual exegesis, but provides a field for exegetical inventions. Therefore it does not illustrate the succession of past events of Christian salvation history, but instead incorporates the events into the sacrament. As a liturgical art connected to liturgical action and the liturgical environment through the mass, it transports the audience into the mystical presence of God and engages them more deeply in the mystery of salvation. The liturgical presence therefore contains eschatological hope within, giving assurance of the world to come. |
| Publisher | Znanstvena založba Filozofske fakulte / Ljubljana University Press, Faculty of Arts |
| Date | 1970-01-01 |
| Source | Ars & Humanitas: Revija za umetnost in humanistiko Vol 5, No 2 (2011) |
| Rights | @ Univerza v Ljubljani, Filozofska fakulteta |