No open-access location is known for this record yet.
No open-access location is known for this record yet.
El presente articulo (que complementa otros dos trabajos previos de nuestra autoria) propone interpretar el ramo de lirios en las imagenes medievales de La Anunciacion segun dos significados dogmaticos, cristologico y mariologico, esencialmente interrelacionados. Contradiciendo las “explicaciones” convencionales de dicha flor en esa escena mariana, fundamos nuestra propuesta en multiples y concordantes testimonios de prestigiosos Padres de la Iglesia y teologos medievales, al glosar la biblica frase Ego sum flos campi et lilium convallium. Tan lirica expresion es vista por esos autores como una clara metafora que identifica a Cristo, Hijo de Dios encarnado, y que, por tal motivo, alude de rebote tambien a Maria, en cuyo seno virginal se verifica la encarnacion de Dios Hijo. Asi, basandonos en la solida tradicion patristica y teologica sobre la referida frase biblica, nos atrevemos a interpretar el ramo de lirios en las imagenes de La Anunciacion –ilustradas aqui por nueve pinturas del Trecento italiano— como una doble metafora, que significa al mismo tiempo la sobrenatural encarnacion humana de Dios Hijo y la virginal maternidad divina de Maria. [ABSTRACT] This paper (which complements two previous works of our authorship) proposes to interpret the bouquet of lilies in medieval images of The Annunciation in two essentially intertwined dogmatic meanings, related to Christology and Mariology. Contradicting conventional explanations of such flower in this Marian scene, we found our proposal in many and consistent testimony of some prestigious Church Fathers and medieval theologians, glossing the biblical sentence Ego sum flos campi et lilium convallium. Such lyrical expression is seen by those authors as a clear metaphor that identifies Christ, the incarnate Son of God, and that, as such, also refers to Mary, in whose virginal womb the Son of God's incarnation is produced. Thus, based on the solid patristic and theological tradition on this biblical sentence, we dare to interpret the bouquet of lilies in paintings of the Annunciation (illustrated here by nine paintings of the Italian Trecento) as a double metaphor, which means both the supernatural human incarnation of God the Son and the virginal divine motherhood of Mary.
Loading…
Imported from OpenAlex (CC0) — nothing here is generated.