|
Christ in the winepress or the mystical winepress〔In German "Kelter-Treter" Press-Treader, ''Mystiche Kelter'', ''Christus in der Kelter'', ''Kelterchristus'', see Timmermann, 384; French ''pressoir mystique'' and Italian: ''torchio mistico'' "mystical winepress"〕 is a motif in Christian iconography showing Christ standing in a winepress, where Christ himself becomes the grapes in the press.〔John F. A. Sawyer ''The Fifth Gospel: Isaiah in the History of Christianity'' 1996 Page 96 "According to this, Christ, the True Vine, is imagined as 'the first cluster pressed in the winepress' (primus botrus in torculari pressus). In art Christ is then depicted as being crushed in the winepress, his blood flowing out into a ..."〕 It derives from the interpretation by Augustine and other early theologians of a group of passages in the Bible, and is found as a visual image in Christian art between about 1100 and the 18th century, as well as in religious literature of many kinds. The image in art underwent a number of changes of emphasis, while remaining fairly consistent in its basic visual content, and was one of the relatively few medieval metaphorical or allegorical devotional images to maintain a foothold in Protestant iconography after the Reformation. ==Development of the image== The image was first used as a typological prefiguration of the Crucifixion of Jesus, and appears from the 11th century as a paired subordinate image for a ''Crucifixion'', as in a painted ceiling of c. 1108 in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg. Here Isaiah stands just outside the winepress with a banderole; Christ stands erect, in front of the press's heavy beam, which is level with his waist. In another example, a miniature from Hildesheim of 1160-80, there is no mechanical press and Christ just treads in a small vat which is, for once, circular. He is flanked by figures with banderoles, perhaps Isaiah and John the Evangelist. Christ's banderole has part of , and those of the flanking figures and .〔Schiller, 128-129, 228 and figs. 432 (Comburg) and 433 (Hildesheim).〕 The monastic context of the Comburg example is typical of these early examples, and at this period only monasteries and wealthy lords were likely to have such expensive equipment as a large screw press;〔Timmermann, 386〕 often they were made available to smaller growers for a share of the juice. The Comburg area in Baden-Württemberg continues to have vineyards as a major element of its agriculture. From around 1400 the conception of the figure changed and the Christ figure became a Man of Sorrows, with the weight of the press bearing down on him, often shown as a bent figure as in a depiction of Christ Carrying the Cross. He usually wears only a cloth round his waist and blood from his wounds may be shown falling to join the grape juice in the treading-floor. In many examples the beam has a cross-member, spelling out the identification of beam and cross, or Christ carries a cross on his back under the beam. The image has become focused on the Eucharist, and also part of the suite of late-medieval andachtsbilder imagery emphasizing the sufferings of Christ.〔Schiller, 228; Timmermann, 384-386, with slightly different dating.〕 The "mystic winepress" was common in hymns and sermons of the late medieval period, but rarer in the visual arts. Most examples are from north of the Alps, and representations in stained glass seem to have been popular. In England, where little wine was made, they were probably very rare.〔Shannon Gayk, Shannon Noelle Gayk ''Image, Text, and Religious Reform in Fifteenth-Century England'' 2010 - Page 107 "Although the figure of the “mystic wine press” was common in hymns and sermons, it was much rarer in the visual arts of the period. It is possible that Lydgate might have encountered a visual depiction of the mystic wine press in his years in France..."〕 Examples include several French and Flemish tapestries,〔''The bulletin of the Cleveland Museum of Art'' Volume 62 - Page 21 Cleveland Museum of Art - 1975 "The Museum's tapestry is one of three tapestries of the Mystical Grapes, all of which were woven in the same style. One in ... The first of these, the Mystical Wine Press, was an allegory of Christ's blood shed on the cross as wine is pressed from ..."〕 and stained glass windows including the "Vitrail du pressoir mystique" at the church of Saint-Etienne-du-Mont in Paris (illustrated below). This has Christ lying down beneath a cross with three screws fixed through its extremities; as in other examples he brings an arm up to pull the shaft down upon him. To the left of the main press Saint Peter treads in his own circular tub.〔S. W. Sykes ''Sacrifice and Redemption: Durham Essays in Theology'' 2007- Page 145 "chalice from the crucified Christ, and late-medieval art-forms like 'the mystic wine-press' (there is a famous example at Paris, in the ambulatory of the church of Saint-Etienne-du-Mont), where Christ's blood is being tapped into barrels; Schiller, 229, image〕 Troyes Cathedral has a somewhat similar window from about 1625.〔Detail of Troyes window, and wider view〕 The Hours of Catherine of Cleves (Utrecht about 1440, now Morgan Library and Metropolitan Museum of Art) has a ''bas-de-page'' image in a typological context, paired with a typically idiosyncratic main miniature of a standing Christ beside a cross resting diagonally on the ground.〔Plummer, #87, he calls the main image ''Christ stands on the Lowered Cross''; this particular folio is in the Morgan Library, (image )〕 Another example is in a fifteenth-century book of hours in the Victoria and Albert Museum.〔London: MSL/1902/1690, f.18v.〕 As a eucharistic image, it had a counterpart in the much rarer image, essentially restricted to German-speaking lands, of the ''Hostienmühle'' or "host-mill", where a grain mill turns out hosts for the Eucharist. In winepress images the juice now often flows into a chalice, though it may also flow into a bucket. Angels, farm-workers or sometimes a Lamb of God (apparently drinking it) may attend to its collection.〔Timmermann, 384, 386-88; Schiller, 228-229〕 A third "mechanized allegory" completes the group of "these strange pictorial inventions in which theology and technology celebrate their unlikely marriage" and depict Eucharistic themes. This is the fountain, which may be shown running with the blood of Christ; a metaphor more in line with the daily life of urban people.〔Timmermann, 384 quoted, 388-390〕 The image survived the Protestant Reformation and, despite some Catholic disapproval in the Counter-Reformation, "persisted into the eighteenth century in the art of both confessions. Whereas the Catholic image gave greater prominence to the doctrine of the sacrament, the Protestant stressed Christ's obedient sacrifice".〔Schiller, 228 (quoted), 229〕 For example, the Dutch Protestant artist Karel van Mander, in his drawn design of 1596 for a print, shows Christ under a large rectangular winepress plate in the usual fashion, but with a cross carried nearly upright on his shoulder "in triumph". Van Mander incorporated three short Biblical quotations in the decorative framework; as well as Isaiah 63:3 above, there are below "For the joy set before him he endured the cross, scorning its shame" (Hebrews 12:2) opposite "Surely he took up our pain and bore our suffering" (Isaiah 53:4).〔Yvonne Bleyerveld, Albert J. Elen, Judith Niessen, with contributions by Peter van der Coelen and Ariane van Suchtelen, ''Netherlandish Drawings of the Fifteenth and Sixteenth Centuries in the Museum Boijmans Van Beuningen, Rotterdam; Artists born before 1581'', Rotterdam, Museum Boijmans Van Beuningen, 2012. Published December 1, 2012. Visited December 25, 2013. (online entry with image (also on Commons )〕 A 17th-century German development expanded the image into a wider allegory of "God's work of Redemption in his church",〔Schiller, 228 quoted〕 placing Christ in the Winepress on a hill at the top of an image in vertical format, with his juice-blood running down or sprinkling groups of the redeemed standing to each side, which may include donor portraits, Adam and Eve, saints, prophets, kings and prelates. This is seen in the frontispiece to a Protestant Bible of 1641, printed in Nuremberg, which has room for a multitude of the ordinary faithful above the major figures in the foreground. As in many images from the 16th-century onwards Christ carries the "pennon of the Resurrection" (red cross on white) and here uses the end of the shaft to stab a dragon representing Satan, showing the increasing Protestant emphasis on the Winetreader as conqueror of his enemies, from Isaiah 63.〔Schiller, 229 and fig. 812〕 Similar images decorate some German funerary monuments (example illustrated below).〔Images here from 1665 and here from 1649〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Christ in the winepress」の詳細全文を読む スポンサード リンク
|
