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The Mary Magdalene’s legend, that says she was a prostitute but became a saint through her penitent, had been formed from South France, but expended in Italy in the thirteenth and fourteenth Century. Magdalene, who had appeared in part at the Jesus’s passion scene, began to appear in the independent altarpiece and frescos in the chapel from this period.
The story of Magdalene painted in the panel of 〈Santa Maria Magdalena〉 in Florence Academy, in frescoes in Renuccini Chapel in Santa Croce and Magdalene Chapel in Inferior Church in Assisi, tells us that Magdalene was a prostitute but after the meeting of Jesus, she was converted and became one of the most beloved apostles of Christ. After the death of Christ she had preached to the pagans and her body was covered with long hair like a hermit with the penitence at the desert for 30 years . Her cult try to persuade to repent in order to be saved as we can see at the scroll that reads : “Do not despair, those of you who are accustomed to sin, and keeping my example, return yourselves to God.” In fact, this panel is used as an effective tool of persuasion.
Mary Magdalene was emphasized by the mendicant orders, especially by the Franciscan Confraternity that approached the religion more emotionally. She is grieving beneath the Cross with Saint Francis in the fresco of Saint Francesco Church. From this period she has been expressed as a woman who wails bitterly with the red mantle underneath the foot of Christ. This is the pictorial image of the song of Lauda at Good Friday Mess in 14th century. It sings, “I, sorrowful Magdalene, throw myself to the bottom of Your feet. By doing so, my sin would be cleaned. He calls me. He calls me, never leaving me.”
Mary Magdalene is the fabricated saint for persuading to make atonement. Then, why was a sin of the prostitute chosen among many kinds of human sins? Perhaps it was because it was a period of asceticism. The virginal purity was a primary condition of sanctity as we can see that the marriage of the clergyman was prohibited from this period. This fastidiousness of purity in the era enforced penitent even on a widow because she is not pure.
The body of penitent Mary Magdalene was covered with long hair after her hermit life. But her image was changing from the end of 13th century: her long hair in the fresco in Madalene Chapel at Assisi is no longer stiff as in the altarpiece of the early 13th Century. Her beautiful blond hair falling on her white body reminds us a Venus. Magdalene’s long hair and her nude get a double allusion. Her long hair implies not only her past life as a prostitute but also the hermit practice at the end of her life. Her nude also retains her sexual attraction and purity simultaneously. The origin of the image of Mary Magdalene is that of Venus. The man-made legend, the penitent Magdalene covered with long hair, wears the clothes of repentance, associated with Venus. It is a contradictory irony for sensualism to survive under asceticism in Medieval Era.
Mary and Eve represent binary interpretation of womanhood in the Middle Ages: purity and impurity, innocence and sin, humility and arrogance. Even if the medieval Christianity forced to adore a Virgin Mary intending to asceticism, they needed a penitent Saint to control the irresistible sensuous desire. The legend and the cult of Mary Magdalene were made for this purpose and her images in the altarpiece and frescos were the effective instrument to persuade spectators and devotees into this penitence to survive.
The story of Magdalene painted in the panel of 〈Santa Maria Magdalena〉 in Florence Academy, in frescoes in Renuccini Chapel in Santa Croce and Magdalene Chapel in Inferior Church in Assisi, tells us that Magdalene was a prostitute but after the meeting of Jesus, she was converted and became one of the most beloved apostles of Christ. After the death of Christ she had preached to the pagans and her body was covered with long hair like a hermit with the penitence at the desert for 30 years . Her cult try to persuade to repent in order to be saved as we can see at the scroll that reads : “Do not despair, those of you who are accustomed to sin, and keeping my example, return yourselves to God.” In fact, this panel is used as an effective tool of persuasion.
Mary Magdalene was emphasized by the mendicant orders, especially by the Franciscan Confraternity that approached the religion more emotionally. She is grieving beneath the Cross with Saint Francis in the fresco of Saint Francesco Church. From this period she has been expressed as a woman who wails bitterly with the red mantle underneath the foot of Christ. This is the pictorial image of the song of Lauda at Good Friday Mess in 14th century. It sings, “I, sorrowful Magdalene, throw myself to the bottom of Your feet. By doing so, my sin would be cleaned. He calls me. He calls me, never leaving me.”
Mary Magdalene is the fabricated saint for persuading to make atonement. Then, why was a sin of the prostitute chosen among many kinds of human sins? Perhaps it was because it was a period of asceticism. The virginal purity was a primary condition of sanctity as we can see that the marriage of the clergyman was prohibited from this period. This fastidiousness of purity in the era enforced penitent even on a widow because she is not pure.
The body of penitent Mary Magdalene was covered with long hair after her hermit life. But her image was changing from the end of 13th century: her long hair in the fresco in Madalene Chapel at Assisi is no longer stiff as in the altarpiece of the early 13th Century. Her beautiful blond hair falling on her white body reminds us a Venus. Magdalene’s long hair and her nude get a double allusion. Her long hair implies not only her past life as a prostitute but also the hermit practice at the end of her life. Her nude also retains her sexual attraction and purity simultaneously. The origin of the image of Mary Magdalene is that of Venus. The man-made legend, the penitent Magdalene covered with long hair, wears the clothes of repentance, associated with Venus. It is a contradictory irony for sensualism to survive under asceticism in Medieval Era.
Mary and Eve represent binary interpretation of womanhood in the Middle Ages: purity and impurity, innocence and sin, humility and arrogance. Even if the medieval Christianity forced to adore a Virgin Mary intending to asceticism, they needed a penitent Saint to control the irresistible sensuous desire. The legend and the cult of Mary Magdalene were made for this purpose and her images in the altarpiece and frescos were the effective instrument to persuade spectators and devotees into this penitence to survive.
목차
Ⅰ. 들어가는 글
Ⅱ. 만들어진 전설
Ⅲ. 참회와 구원
Ⅳ. 매춘과 금욕
Ⅴ. 겉은 참회자 속은 비너스
Ⅵ. 성모와 이브 사이의 막달레나
참고문헌
Abstract
참고문헌 (50)
참고문헌 신청
이은기 / 1992 / 마리아의 도상 변천과, 종교상의 역할 변천 / 서양미술사학회논문집 4:93~124
이은기 / 2004 / 이브 : 욕정의 대상에서 인류의 조상으로 - 14-15세기 이탈리아에서의 이브 인식의 변화 / 미술사연구 (18):203~228
이은기 / 2003 / 예수 수난의 종교의식과 미술: 13-15세기 이탈리아를 중심으로 / 서양미술사학회 논문집 20:107~136
Andreucci, Salvatore / 1971 / La compagnia dei disciplinati di S. Francesco e S. Maria Maddalena inLucca / Bollettino della r. deputazione di storia patria per l’Umbria 68(2):233~240
Benvenuti Papi, Anna / 1990 / ‘In castro Poenitentiae’: santità e società femminile nell’Italia medievale / Herder
이은기 / 2004 / 이브 : 욕정의 대상에서 인류의 조상으로 - 14-15세기 이탈리아에서의 이브 인식의 변화 / 미술사연구 (18):203~228
이은기 / 2003 / 예수 수난의 종교의식과 미술: 13-15세기 이탈리아를 중심으로 / 서양미술사학회 논문집 20:107~136
Andreucci, Salvatore / 1971 / La compagnia dei disciplinati di S. Francesco e S. Maria Maddalena inLucca / Bollettino della r. deputazione di storia patria per l’Umbria 68(2):233~240
Benvenuti Papi, Anna / 1990 / ‘In castro Poenitentiae’: santità e società femminile nell’Italia medievale / Herder
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