Gondolatok a szászfenesi római katolikus templom falképeiről

Ideas about the Floreşti Catholic Church Murals

Weisz, Attila

Erdélyi Múzeum-Egyesület

2017-05-29T13:36:47Z

2017-05-29T13:36:47Z

2015

2015

erdélyi középkori falképfestészet

Szászfenes

Magyarfenes

Szent György

Alexandriai Szent Katalin

bronzbika

trecento

internacionális gótika

medieval murals in Transylvania

Florești

Vlaha

Saint George

Saint Catharine from Alexandria

brazen bull

The paper is an iconographical, chronological and stylistic analysis of the Middle Ages murals from the Floreşti Catholic church (Cluj county), including them into the general question of the murals around the city of Cluj. Th e murals were discovered in 1961–62 by Lajos Bágyuj, and it wasn’t analyzed until yet. The Pietà on the southern façade has totally disappeared because of the inadequate restoration, we know only a picture and a drawing about it. A close analogy of it is the Pietà from the Suatu Unitarian church. Th e fi gures are similar in the apostle-gallery in the Bădeşti Calvinist church too, which are dating from the fi rst quarter of the 15th century, and appertains to the style of the international Gothic. The similarities shows maybe the works of the same workshop, which uses a linear style, skinny figures with boned faces and expressive eyes. On the northern wall there were at least two registers of murals. In the upper row, to the right we can see the scene of the Annunciation. Th e lower row begins with the Kiss of Judas, unfortunately other scenes are unseen. In this moment we have no analogies of it amongst the murals around Cluj, but generally we can declare that it was made in the style of the late international Gothic, and it dates from the middle of the 15th century. In the south-eastern corner of the nave one can see two scenes from the legend of Saint Catharine from Alexandria. Th is compositions have close analogies in the Şmig Lutheran church (Sibiu county), maybe were copied from there or had a common model. The murals from Şmig, with a better quality, can be dated to the fi rst quarter of the 15th century, which could be orienting to the Floreşti murals, too. At the longitudinal register on the southern wall of the nave one can see the narrative representation of an unidentifi ed saint’s legend. The mural is in a very poor condition, today exists only just a half of the original scenes, and the existing scenes are very stereotypical to many martyrs of the early Christianity. Somewhere in the middle of the longitudinal register is represented the saint in a brazen bull – because the narration keeps on going on the persona survived this kind of execution. Th ere are many early Christian martyrs killed in the brazen bull, only Saint George has been told to survive this. Th e narrative form of Saint George’s legend was rarely represented in the medieval western art, and amongst them is a real rarity the scene of the brazen bull, but we know some concluding analogies (the murals of Şişterea Calvinist church, Bihor county, the murals of the church of Danish town, Nibe and an altar panel from the Groeninge Museum in Bruges, Belgium). We can include the murals into the style of trecento, which have many examples around Cluj (Saint Michael’s Cluj, Sic Calvinist church, Bădeni Calvinist church, Vlaha Catholic church etc.), painted around 1400. Th e stylistic analysis demonstrated that the Saint George legend from Florești is in a close relationship with the trecento murals from Viştea Calvinist church (the scene with the nave and other scenes from the Life of the Virgin or the Passion of Christ, today under plaster, but copied at the beginning of the 20th Century) and with those of Vlaha (here apparently the murals of the choir and the nave are diff erent). Th e Crucifi xion of Viştea (the copy) is an almost identical analogy of the Vlaha Crucifixion (except the fi gures of the foreground, which are represented just in the fi rst case). In this way appears a group of murals made probably by the same workshop, which worked in this villages being in the property of the Transylvanian bishopric in that time. Because the elements of the international Gothic style are so rare in the murals of this group (which however are generally present in the trecento works in Transylvania), we can suppose that these are the oldest examples of the trecento murals in the region.

347-364. old.

magyar

angol

Article

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2393 – 4328

http://hdl.handle.net/10598/30006

Edélyi Múzeum-Egyesület

Certamen 2.

Erdélyi Múzeum-Egyesület