The “Coronation of Esther” in the interior of the Reims Cathedral: the mariological cycle of tapestries in the religious and political context of the 16th century
https://doi.org/10.28995/2658-4158-2023-3-125-138
Abstract
The article analyzes the peculiarities of the iconography of the “Coronation of Esther” in the cycle of the “Life of the Virgin Mary”, created for the Reims Cathedral at the beginning of the 16th century. While the composition of the tapestries is obviously influenced by such an important textual source as Biblia Pauperum, the master depicts the scene in his own way, finding himself closer to the interpretation of Bible moralisée. The polemic with Protestants increased attention to the image of the Virgin Mary in Catholic art. At the same time, French foreign policy and relations of Paris and Saint-Siège may have been a factor in the additional visualization of the monarch’s status as “the most Christian king,” which led to an increased politicization of French art and an emphasis on the coronation theme.
About the Author
E. V. Shapovalova
Russian State University for the Humanities
Russian Federation
Russian Federation
Elena V. Shapovalova, Cand. of Sci. (History), associate professor
6, Miusskaya Sq., Moscow, 125047
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Review
For citations:
Shapovalova E.V. The “Coronation of Esther” in the interior of the Reims Cathedral: the mariological cycle of tapestries in the religious and political context of the 16th century. Studia Religiosa Rossica: Russian Journal of Religion. 2023;(3):125-138. (In Russ.) https://doi.org/10.28995/2658-4158-2023-3-125-138
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