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"Saskia Lerdon untersucht die Gotteslamm-Metapher in den biblischen Texten und skizziert ihre Rezeption beispielhaft in der bildenden Kunst. Nach einer Einführung in die Metapherntheorie stellt Lerdon die Bedeutung des Bildes im frühen Christentum und die frühe liturgiegeschichtliche Entwicklung des „Lamm Gottes“ vor. Das Hauptaugenmerk liegt auf dem theoretisch komplexen Wechselverhältnis zwischen Sprache und Bildlichkeit. Die neutestamentlichen Texte zum „Lamm Gottes“ beleuchtet die Autorin hier in den Sinndimensionen, wie sie sich im 1. und 2. Jahrhundert dargeboten haben. Der Blick geht hierbei auf die Gotteslamm-Metapher im Neuen Testament und die vielfältigen religionsgeschichtlichen Anknüpfungspunkte in Texten und Artefakten der antiken Umwelt. Ausgehend von dieser Grundlage betrachtet die Autorin die vielfältigen Bildzeugnisse aus der zweitausendjährigen Kunstgeschichte in einem typologisch ausgerichteten Längsschnitt, der dazu dient, die semantische Vielfalt in eine systematische Betrachtung des Bildmaterials zu übersetzen. So gelingt ihr eine Darstellung, wie sich im Lauf der Jahrhunderte in der Rezeption der biblischen Metapher durch bildende Künstler neue Sinnpotentiale entfaltet haben. Zum Abschluss geht der Verstehensweg von den Bildzeugnissen noch einmal zurück zum Text. Lerdon legt dar, wie das Textverstehen die Wirkungsgeschichte beeinflusst hat, und regt ausgehend von den Bildzeugnissen eine Relecture der neutestamentlichen Texte an." --provided by publisher

Christian art and symbolism --- Jesus Christ

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Christian art and symbolism --- Christian art and symbolism --- Estella, Diego de, --- Hoogstraten, Frans van,

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Art, Medieval. --- Architecture, Medieval. --- Christian art and symbolism

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"When Europe fell prey to the 20th century totalitarian regimes, a mysterious Slovene artist from a northern Adriatic country responded to the cruellest oppression by systematically depicting his own and his community's resistance against Fascism and Nazism in the public space, in front of the very nose of the regime, so to speak. As incredible as it may seem, the regime never discovered and punished his rebellious action. The painter embedded his ideological subversion of Fascism and Nazism in wall paintings in more than 50 Catholic churches, thus disseminating his subversive message among his people with whom he shared the same cultural memory. With many of them covering a surface area of several square metres, the church paintings introduced Mussolini and Hitler in a Biblical visual narrative, portraying the two dictators with irony and grotesqueness as villainous biblical characters, often in the role of hangmen, murderers or clowns. The symbols of their regimes were incorporated into Biblical scenes depicting eschatological dimensions of the struggle between good and evil, thus spreading - in the time of the most brutal fascistization - the painter's firm belief in the historical downfall of the Fascist and Nazi regimes. Who was this genius of painting, Tone Kralj? Why did he mark the Slovene-Italian ethnic border, which was longer than 100 kilometres, with unmistakable symbols of antifascism and anti-Nazism? Given that he painted his church murals in an occupied area, how is it possible that the repressive police apparatus did not detect his inconceivably bold artistic gesture? And what was the role played by the secret antifascist organization of the "men of the Church" in the Julian March? Employing a contemporary methodological approach, Egon Pelikan, author of this ground-breaking study, managed to decipher all dimensions of this unique artistic phenomenon, a "message in the bottle", almost one hundred years later"--

Mural painting and decoration, Slovenian --- Mural painting and decoration, Slovenian --- Christian art and symbolism --- Christian art and symbolism --- Fascism and art --- Fascism and art --- Kralj, Tone

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Iconography --- History of civilization --- annunciatie --- Christian art and symbolism --- Mary, --- Annunciation.