Abstract

Since the early twentieth century, the carved sarcophagus of Alfonso Ansúrez has been considered a central work of Spanish medieval art. Nonetheless, its singular imagery remains enigmatic and its contentious modern history largely unexplored. The late eleventh-century sarcophagus of the young noble Alfonso Ansúrez is both exceptionally clear and frustratingly enigmatic. Inscriptions label every detail, down to a cup labeled calix, and large carved figures signal the viewer through pronounced gestures, but the tomb’s details diverge from developing norms in funerary iconography. Unlike the common medieval representation of the deceased as a nude androgynous soul, the young Alfonso, while plainly identified by the inscription “deceased Alfonso,” is shown fully dressed and animate. This article argues that the tomb depicts Alfonso’s reception of last rites, which may not have been observed before the young noble’s untimely death. The carefully marked details actualize a ritual indispensable for the salvation of his soul. The article also elucidates the little-known role played by Arthur Kingsley Porter — probable victim of another premature death — in the Spanish monument’s clandestine and controversial appearance in the United States.

摘要

自 20 世纪初以来，阿方索·安苏雷斯 (Alfonso Ansúrez) 的雕刻石棺一直被认为是西班牙中世纪艺术的核心作品。尽管如此，其奇异的意象仍然神秘莫测，其充满争议的现代历史在很大程度上还没有被探索过。年轻贵族阿方索·安苏雷斯 (Alfonso Ansúrez) 的 11 世纪晚期石棺既异常清晰，又神秘莫测。铭文标注了每一个细节，小到标有杯的杯子，大型雕刻人物通过明显的手势向观众发出信号，但坟墓的细节与丧葬图像的发展规范有所不同。与中世纪将死者描绘成一个赤裸的雌雄同体的灵魂不同，年轻的阿方索虽然清楚地被铭文“已故的阿方索”所识别，但穿着完整且充满活力。这篇文章认为，这座坟墓描绘了阿方索接受临终仪式的情景，这在这位年轻贵族英年早逝之前可能没有被观察到。精心标记的细节实现了他灵魂得救必不可少的仪式。这篇文章还阐明了亚瑟·金斯利·波特（Arthur Kingsley Porter）在西班牙纪念碑秘密和有争议地出现在美国时所扮演的鲜为人知的角色——可能是另一次过早死亡的受害者。