Summary

This article argues that Tudor politics influenced the devotional iconography on display in the Magnificat window in Great Malvern Priory church in Worcestershire, England from 1501. The window proclaims Henry VII’s final victory over Yorkist pretenders to the throne in the years after Bosworth and communicates its position through images of the Virgin Mary. The article discusses how collective memory and visual migration function to bridge the rhetorical and devotional visual language which associated Marian devotion with Tudor politics in the Magnificat window. The rise of Lady Chapels and Marian images in England during the late Middle Ages was accompanied by new additions of Marian devotion and ritual interaction. The combination of Marian iconography and Prince Arthur’s popularity made it possible to present political rhetoric in the visual language of devotion. Persuasive rhetoric and visual devotion function together to incorporate the social role of visual language, late medieval prayer, and public liturgy. The didactic and devotional function of stained-glass windows allows them to become interactive devotional art in sacred spaces, they change with time and sentiment of the people who use the space. In the rhetoric of faith and truth, suggestions, or persuasion via visual rhetoric in the context of churches, emphasise the idea of a force of truth created by their divine context.

概括

本文认为，都铎王朝的政治影响了自 1501 年起在英格兰伍斯特郡大莫尔文修道院教堂的Magnificat橱窗中展示的虔诚肖像画。该橱窗宣告了亨利七世在博斯沃思之后的几年中最终战胜了约克派的觊觎王位，并传达了其立场通过圣母玛利亚的图像。本文讨论了集体记忆和视觉迁移如何发挥作用，以弥合修辞和虔诚的视觉语言，这些视觉语言将玛丽安的奉献与都铎王朝的政治联系起来。窗户。中世纪晚期英格兰圣母礼拜堂和玛丽安图像的兴起伴随着新增加的玛丽安奉献和仪式互动。玛丽安的肖像画和亚瑟王子的受欢迎程度相结合，使得以奉献的视觉语言呈现政治修辞成为可能。有说服力的修辞和视觉奉献共同发挥作用，将视觉语言、中世纪晚期祈祷和公共礼仪的社会角色结合起来。彩色玻璃窗的教学和虔诚功能使它们成为神圣空间中的互动虔诚艺术，它们随着时间和使用空间的人们的情绪而变化。在关于信仰和真理的修辞中，在教堂的背景下通过视觉修辞的建议或说服，强调由他们的神圣背景创造的真理力量的想法。