UDC 75.01
DOI: 10.36871/hon.202302117
Authors
Yuliana Yu. Bogomolova,
Lomonosov Moscow State University, 119991, Russian Federation, Moscow
Abstract
Mary Magdalene occupies a special place among the Gospel characters. Her name is mentioned several times in all the synoptic Gospels. Being a participant in the central events of the Crucifixion and Resurrection of Christ, she appears already in the earliest Christian images. The rich pictorial tradition associated with her expanded as her fascinating and controversial biography developed, blending the features of various heroines with the name Mary or nameless sinners. This article considers the process of composition, as well as semantic and artistic transformation of the plot, which became widespread in European fine art — "The Feast in the House of Simon the Pharisee" on the example of Italian art from the Middle Ages to the High Renaissance. This selectivity is justified by the fact that the key processes in the formation of iconographic schemes took place in early Christian and medieval art and underwent qualitative changes in Proto-Renaissance and Renaissance art in Italian art schools. In turn, the Italian High Renaissance art in this case is limited to the Venetian school, since it was within this national school that the most characteristic processes were observed. The study uses historicalformal, iconographic and iconological methods.
Keywords
Mary Magdalene, dinner at Simon the Pharisee, anointing in the house of Simon the Pharisee, alabaster jar, anointing the feet, biblical themes in art
