most important object in the history of Gothic sculpture is called. Royal portal of Chartres Cathedral, which has already been erected about the middle. Twelfth century He has inspired many artists, his wealth, yet innovative form of detachment from the face of the wall. The wall has been withdrawn for this purpose that the characters and the column took its place. On the other hand, started carving again serve as architectural, like the saints of the site who przypominać mogą starożytne kariatydy. Zresztą postaci te wyciosano z jednego bloku wraz z elementami ościeża katedry. Odrzucono zatem antyczną koncepcję rzeźby wolnostojącej i zwrócono się raczej ku jak najpełniejszej integracji rzeźby z architekturą. Pojawia się też na wielką skalę baldachim jako istotny element rzeźby gotyckiej. To on sugerować miał trójwymiarowość, to w ten sposób zaznaczono, że odbiorca ma do czynienia z czymś innym niż zwykłe ilustrowanie sceny biblijnej. Kolejnym nowatorskim rozwiązaniem był fakt, że figury zaokrągliły się wokół własnej osi, pozostawiając kolumny in the background. So assiduously sought to mask their tectonic nature, especially in the case of statues inside the church and at the portals. Surprising is also the theme of the work produced in what is now France. In the years 1130-1160 in the north of the country figures associated with the columns illustrate the themes of the "Old Testament", while in the south of the figures in niches present the only apostles. This problem has not yet been convincingly solved, and perhaps associated with a specific status-dimensional figures in this region.
changed underwent in subsequent decades, not only technical issues but also ideological. The cult of Mary has meant that in many cathedrals, it replaced the Jesus of the major portals. This situation now appears around 1175 in the Cathedral of Senlis, and Mary herself was equated with the Ecclesia, and her marriage are a form of marriage with the Church of Christ. A similar character is assigned the facade of Notre-Dame in Paris, built around 1210, the characters are not here, however, as dynamic as in Senlis, it presents a more harmonious, lofty, with a specific gravity. It is this style zidealizowany elongated proportions will be the most popular in the thirteenth-century France, even though Notre Dame is still seen very significant efforts towards the work of Romanesque art. Characters were addressed directly, the relationship of behavior between them is not as obvious as it was in Chartres. So I have been subordinated to the viewer, along with the simplification of the schema for a simplification of the visual podążono a religious dimension of the work.
How, then, perceived importance of the cathedral and the role played in this sculpture? Your best bet is to follow the example of Amiens, which were built in 1218 on a facade completed several years later. Lower Center party occupies the west portal the figure of Christ - Winners, triumphant, and symbolizes the gate of heaven - the one by which you must pass in order to be saved. Accompany me to the apostles, as it were, by directing the recipient to Christ (they are therefore a kind of mediator in accordance with Christian theology.) Another batch of forms are prophets announcing the coming of Jesus and those who could be the archetypes of the Saviour in the Old Testament. " In Amiens, therefore, was based on one of the two dominant concepts of the interpretation of the site, namely the release of the plan of salvation. The second concept was the idea of \u200b\u200ba competitive defense against evil spirits, which indicates the specificity of recognition of the "sacred", which was a Gothic church. Stretched because of the sacred not only on the same spot the sanctuary, the tabernacle, the reliquary, or place of burial or commemoration of a saint, but the entire structure being the image of the Heavenly Jerusalem on earth. It is in the specific design of recourse to the Temple of Solomon, competed to capture the perfect proportions and relationships to create a geometric object up to the needs of worship. Each batch was subjected to an object the religious discourse ranging from the columns (here taken over coming back to the first millennium, the idea of \u200b\u200bthe Apostles as the pillars of the Church), through the decor (designed to express the most important arguments and the dogmas of faith, and the expectations of new and better world) to the towers, the symbol of all religious aspire community toward the sky.
In Amiens, of course, focuses not only on the western portal, but also was given the symbolic importance of other inputs. On the south side portal devoted to Mary, which was presented as the new Eve trampling the serpent. This form was placed around the story of the fall of the first human being contrasted with the image in the tympanum of Christ marrying Mary, who is here a symbol of the Church. In this way, therefore it is assigned an important role as a woman who, through their deeds She participated in a reversal of the stain of original sin and salvation be favored as the first was still alive. Especially the last topic is particularly important and already popular in the period of Romanesque art, where often the scene of Mary, and falling asleep on her soul coming of Christ appeared in the sculpture portal. Reference was made also to the concept of the relationship between the legitimate belief (Christianity) and not quite satisfied (Judaism). In this case, this involves the release of the left (usually placed on the side of being condemned or niezasługujące for salvation) is the symbol of the Jewish faith, from which later emerged from the church, which is able to recognize the true Messiah.
North portal of the cathedral dedicated to local saints, especially St. Firminowi, the first bishop of Amiens. Along with a group of other saints and martyrs became the symbol of the church victorious, struggle against the pagans and enemies of the faith. This suggests that the location next to the priest Auxiliusa Firmin, which is still a follower of the previous religion. The adoption of Christianity is also a symbol of a new era and a way for the final dates in human history, as suggested by the characters set around the Zodiac and the work of man in each month. So it is approaching the portal of Amiens popular in the thirteenth century the idea of \u200b\u200bthe end of the world, especially popular in France and Italy.
Evolution Gothic portal has been significantly altered by the creation of scenery built since 1212 in the church of Notre-Dame in Reims. Here was a noble, even exquisitely executed, and their clothes were covered with fine mesh folds (as in the Annunciation and Visitation.) There will therefore two ideas for the architectural sculpture of this period - the first in the Paris region (Ile-de-France), where the figures were high and rough, and another is in the Champagne region with more imaginative solutions. But it lasted only about 1250, when the scenery of the capital of the monarchy prevailed, especially in connection with new artistic ideas arising in this region (such as decorating the Sainte-Chapelle). It is the object created in the years 1243-1248, which is a chapel of Louis IX, threw direction of Gothic art. This form was adopted even in Reims, where he performed the famous laughing about 1250, the angel of His body is very slender, the character seems to almost float in the air, and dancing outside the output differs from previous art. Sam smiles and is close to other works from this period, such as in Naumburg and Bamberg.
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