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    STUDIA THEOLOGIA ORTHODOXA - Ediţia nr.2 din 2006  

  Rezumat:  Types of mystical conception and artistic vision on Crucifixion theme. The study dedicated to mystical experiences before the Christ’s drama on Golgotha reunites in the next lines a few significant examples from Roman Catholic Church’s doctrinary and artistic fiel. These are different points of view that will generate personal visions in Gothic Art and the art of Renaissance approaching the crucifixion theme. Saint Francis of Assisi wants to experience The Saviour’s pain asking for two things: the suffering and the love for the humankind. In her writings, Saint Brigitte admits similar states of revelation before the Crucified. Junlian of Norwich, Margery Kempe identify themselves with His sufferings and Mechthild of Magdeburg describes Him, roughly reminding us of the plasticity in Grünewald’s Crucifixion altar from Colmar. Following some assiduous requests, St Rita recives a thorn from the Saviour’s crown. Saint John of the Cross and Saint Bonaventura are ilustrating the presence of the hecatomb by using dramatic words: „to see with the eyes of the soul how some people are stucking the cross into the ground, how some of them are preparing the nails and the hammer.” The same tragical status can be found in Heinrich Suso’s work as an actor, this time by acting out. Thomas a Kempis reminded us that the Saviour’s entire existance can be focused on two elements: the Cross and his martyrdom. According to O. Drimba, religious drama, with its emphatic expression of the Saviour’s agony and pain, seemed to be the natural and direct example that generated a realistic vision in the Gothic style and in the Renaissance. As part of christianity’ iconography field, the Tree of Life and the Saint Cross refer directly to the Passion of the Christ as seen in the works of Paccino from Bonaguida and Taddeo Gaddi. The most significant fact is the way in which the artists have chosen to render the image of a crucified Jesus, sometimes alive, sometimes dead wearing only a girdle, sometimes nude. Duccio, Giotto, Jan van Eyck, Rogier van der Weyden, Albrecht Dürer, Hans Memmling, Benvenuto Cellini or Michelangelo Buoenarroti are some fundamental examples in this particular field.  
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