Den Sorte Død som afspejlet i skandinavisk arkitektur og kunst

The Black Death as reflected in Scandinavian Art and Architecture By Ebbe Nyborg There is a saying among architectural historians that a cathedral that had not been completed by the middle of the 14th century was at risk of never being finished at all. As it is well known this was the case in Cologne. The same almost total stop of building activities between ca. 1350 and the late 19th century is seen at Trondheim Cathedral in Norway (fig. 1-2). And in Denmark the works at Odense Cathedral and the nearby Cistercian church in Holme (fig. 3-4) came to a standstill ca. 1350 and were not resumed until well into the 15th century. Furthermore the buildings were only finished according to substantially reduced plans. The plague would have been at least partially responsible for this. Much would indicate that the plague especially affected Norway, where the whole stone-building tradition dwindled until the 16th century, and in Jutland (Western Denmark) where quite a number of deserted churches can be mapped (fig. 5). In the countryside only the rich Swedish island of Gotland had substantial building activity during the 14th century. But many of the works obviously came to a standstill without ever being resumed (fig. 6-7). Dendrochronology may link some of these standstills to the plague, whereas others would surely have had other (immediate) courses. In Scandinavia the macabre pictorial culture is widely represented by hundreds of crucifixes of pain (crucifixi dolorosi)(fig. 8) of which, however, a large number seems to antedate the plague. Classical memento mori scenes, such as the Dance of Death, the Wheel of Fortune (fig. 9), Frau Welt and the apocalyptic horsemen (fig. 10) can mostly be seen in the wealthier parts of Southern Scandinavia where a tradition of wall-paintings persisted. So-called transigraves with a life-size representation of the dead person lying as a worm-eaten body are not known until the 16th century (fig. 11) testifying to the long-reaching impact of the macabre culture

Bysantinisk prægede krucifikser i højmiddelalderens Danmark – hvordan, hvornår, hvorfor

The royal crucifixes so characteristic of the 12th century only gradually gave way to the Gothic suffering-Christs (Christus Patiens) in Scandinavia. In Denmark we find instances of an earlier, transitional type with a Byzantinizing, right-curving Christ in book illuminations, metalwork, stone and polychrome wooden sculptures. This paper concentrates on the Byzantine-influenced crucifixes that have served in church liturgy.  – Although the body of Christ is depicted as dead or dying, these crucifixes present Him with a royal crown and wide open eyes as in the contemporary royal crucifixes. He would thus be presented as both the eternally ruling King of Heaven and the suffering Son of Man. This is of course in full agreement with the teaching that Christ is both totally God and totally human. But such odd combinations, dating mostly from c. 1175–1225, are certainly rare among contemporary European crucifixes. They offer an exceptional insight into the local conditions for the introduction of new theological doctrine in ordinary parish churches. One main reason for the obvious conservatism would have been a (lay and clerical) concern for the dignity of Christ

Fjenneslev og Gørlev Kirker – to sjællandske slægtsmausoleer fra 11–1200-tallet

Title: The Churches of Fjenneslev and Gørlev – Danish Family Mausoleums in two Parish Churches from the 12th-13th centuriesIt is well known that leading powerful and aristocratic families could turn cathedrals and monastic churches into what could be viewed as their own mausoleums in the High Middle Ages. Less known is the fact that this phenomenon also occurred in smaller parish churches. The article presents two examples of such churches in detail: the rural churches in Fjenneslev and Gørlev (on the main Danish island of Zealand). In Fjenneslev the dominant Hvide family already had both its collective burial place and extensive commemorative murals across the triumphal wall in place by about 1150. These family memorials were preserved and maintained until at least about 1300. In Gørlev, no less than two sets of donor images were installed during the 13th century, one painted and one sculpted in polychrome wood, inspired by German-French models

Granit, sandsten, kalksten og klæbersten. Danske romanske døbefonte på rejse

Title: Granite, Sandstone, Limestone and Soapstone. Danish Romanesque Baptismal Fonts and their TravelsIn Denmark Medieval baptismal fonts are mostly hewn in granite from erratic blocks and mainly form small groups originating from different “workshops”. However, some of the fonts were imported from Bentheim (Western Germany), Tournai (Belgium) and Southern Norway. A more substantial number came from the Baltic island of Gotland in Sweden. In Denmark baptismal fonts have sometimes been moved over considerable distances, mostly from Scania (part of medieval Denmark) to Zealand and even to Western Jutland. This paper discusses how and why such transport was organized. The rather extensive Scanian production of sandstone fonts seems to represent a general European tendency towards standardized mass production. This eventually led to a concentration of font manufacturing on 13th century Gotland, where suitable limestone was easily accessible and the products could be exported along established overseas traderoutes

Norges kirker

Norwegian Churches By Ebbe Nyborg Norwegian churches are still in use, even far north beyond the Arctic Circle. But they are also monuments of Christianity down through the ages. They are excellent cultural monuments. Here of course we consider especially the older churches, the stave churches, Norway’s unique contribution to the European cultural heritage, the stone churches and their ruins from the Middle Ages and the wooden churches from the 17th-18th centuries. As far as proportions are concerned, there is only one single Norwegian church, Nidarosdomen, to match the larger West European cathedrals of the Middle Ages. This church, however, represents the whole of Scandinavia with its exquisite architecture and sculptures, the origins of which are still a bit of a research mystery. Neither can it be said that the old, Norwegian churches excel in number and by this make an impression on the countryside. This is due to the fact that far too many churches have been demolished. As we know today there are only twenty-six listed stave churches left out of the hundreds once to be found in the valleys. The churches are key factors in our culture. There can never be too much co-operation and friendship. He we are to celebrate and dwell upon the fertile Nordic co-operation, which thrives in church research, and which for a long time has manifested itself by research gatherings such as this in Søgne. Just think, that we from all Scandinavia know each other personally in our field of work and can learn from each other, be inspired by each other and by positive criticism. It is not only a personal happiness and enrichment. Our co-operation gives an invaluable encouragement both in connection to our own work and challenges, and when we are to enter the international scene and draw attention to the delights of the Scandinavian world