The mariological cycle of Pietro Cavallini in Santa-Maria in Trastevere: Byzantine and Western influences in Roman monuments at the end of the 13th century
https://doi.org/10.28995/2658-4158-2023-3-38-49
Abstract
The Rome artistic profile formation at the end of the 13th century took place in the conditions of organic coexistence and intensive interpenetration of elements of ancient, early Christian, Romanesque, Gothic and Byzantine art. The powerful impetus for the figurative and conceptual city renewal was the lead of prominent Roman pontiffs, as well as bishops and cardinals who wished to write their name in history. The discussion about the role of the patron, which began in the circle of Aby Warburg at the beginning of the 20th century, half a century later led to the emergence of one of the most actual approaches to the study of the Proto-Renaissance art. Another important direction of scientific research of these monuments was the reflections about much broader culture processes, figuratively brought into opposition “East – West”. Within this approach, various elements of iconography, which originated in the “Eastern” or “Western” paradigm, are studied, and the factors that influenced master’s choice when referring to one or another artistic tradition are evaluated. The article examines the iconography of the mosaics of the Mariological cycle by Pietro Cavallini in Santa Maria in Trastevere in the focus of the mentioned aspects of the study.
About the Author
I. V. Golubeva
Russian Institute of Art History
Russian Federation
Russian Federation
Irina V. Golubeva
5, Isaakievskaya Sq., Saint Petersburg, 190000
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Review
For citations:
Golubeva I.V. The mariological cycle of Pietro Cavallini in Santa-Maria in Trastevere: Byzantine and Western influences in Roman monuments at the end of the 13th century. Studia Religiosa Rossica: Russian Journal of Religion. 2023;(3):38-49. (In Russ.) https://doi.org/10.28995/2658-4158-2023-3-38-49
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