Papers by Margrethe C. Stang
Historisk tidsskrift, Nov 26, 2023
Journal of Northern studies, 2016
Anna Nilsen, The Gothic Sculpture of Uppsala Cathedral. On Spiritual Guidance and Creative Joy, T... more Anna Nilsen, The Gothic Sculpture of Uppsala Cathedral. On Spiritual Guidance and Creative Joy, Turnhout: Brepols 2014
Historisk tidsskrift, Mar 8, 2019
Historisk tidsskrift, Apr 4, 2005
DOAJ (DOAJ: Directory of Open Access Journals), Mar 1, 2016
The article discusses donor images and testamentary donations of lights, furnishings and art to t... more The article discusses donor images and testamentary donations of lights, furnishings and art to the Church in medieval norway. A number of testaments, mentioning different types of visual donations, are discussed, as well as two visual sources: the altar frontal in Volbu church and the (now lost) wall paintings of Vang church. The Volbu frontal depicts four men kneeling in front of a statue of St. Blaise, probably representing a group of Volbu parishioners. The author suggests that the lost paintings of Vang, documented in watercolour in the 19th century, can be linked to the knight Sigvat of Leirhol. While all other norwegian donor images have been lost, the written evidence supports the article's claim that not only visual donations, but also donor images, were prevalent in medieval norway.
Collegium Medievale, 2009
Innledningsvis vil jeg bemerke at jeg har anmeldt trebindsverket om de norske malte alterfrontale... more Innledningsvis vil jeg bemerke at jeg har anmeldt trebindsverket om de norske malte alterfrontalene tidligere, i Historisk Tidsskrift 1:2005. Jeg ble imidlertid anmodet av Collegium Medievales redaksjon om a anmelde det ogsa her, da deres opprinnelige anmelder ble syk. Dette er ikke en blakopi av den gamle anmeldelsen; siden jeg selv forsker pa frontalene, og dermed ogsa bruker bokverket daglig, er forholdet mellom leser og tekst i stadig utvikling. Det reflekteres i det folgende. Som kunsthistoriker har jeg saerlig lagt vekt pa verkets forste bind.
De Gruyter eBooks, Apr 19, 2021
Within the limited corpus of Norwegian medieval painting, a surprisingly large number of images p... more Within the limited corpus of Norwegian medieval painting, a surprisingly large number of images portray Muslims and Jews in the context of Christian narratives of opposing faiths. In this chapter, I wish to shed light on these images and discuss them in their cultural and religious context. In recent years, a number of scholarly articles have addressed the question of different ethnic and religious groups and their representation in medieval Scandinavia. I will argue that the portrayal of Muslims and Jews in this corpus reflects the role of these minorities within the storyworld of the Jerusalem code, not in physical reality, and that as literary figures they emphasise the medieval Jerusalem as, among other things, a city of the mind. To demonstrate this, I contrast the depictions of Jews and Muslims with representations of the Saami people of Scandinavia, a minority that must have had a palpable presence in Nordic society, but that is largely invisible in medieval Norwegian storyworlds. In the thirteenth century, Norway was a country on the edge of Christendom. The archdiocese of Nidaros was the northernmost in the world, and one of the geographically largest, spanning modern Norway and Iceland, Greenland and the Faroe Isles. At its zenith, it even included the Hebrides and the Isle of Man. Norway's primary international contacts were, in addition to her Scandinavian neighbours, England, France, Scotland and North German principalities. There were no known Jewish communities in medieval Scandinavia, 1 and the region was, of course, far from the Christian-Muslim borders of Europe. Trade, warfare and pilgrimage may of course have brought some Scandinavians into contact with both Jews and Muslims. On the other hand, there were indigenous Saami and Inuit communities within the Norwegian realm. Moreover, from the twelfth century onwards, Danes, Swedes and Teutonic Knights launched several crusades to convertand conquer-Finns, Wends and other Baltic peoples.
Historisk tidsskrift, 2005
Innledningsvis vil jeg bemerke at jeg har anmeldt trebindsverket om de norske malte alterfrontale... more Innledningsvis vil jeg bemerke at jeg har anmeldt trebindsverket om de norske malte alterfrontalene tidligere, i Historisk Tidsskrift 1:2005. Jeg ble imidlertid anmodet av Collegium Medievales redaksjon om a anmelde det ogsa her, da deres opprinnelige anmelder ble syk. Dette er ikke en blakopi av den gamle anmeldelsen; siden jeg selv forsker pa frontalene, og dermed ogsa bruker bokverket daglig, er forholdet mellom leser og tekst i stadig utvikling. Det reflekteres i det folgende. Som kunsthistoriker har jeg saerlig lagt vekt pa verkets forste bind.
Journal of Northern studies, 2016
Anna Nilsen, The Gothic Sculpture of Uppsala Cathedral. On Spiritual Guidance and Creative Joy, T... more Anna Nilsen, The Gothic Sculpture of Uppsala Cathedral. On Spiritual Guidance and Creative Joy, Turnhout: Brepols 2014
Collegium medievale: interdisciplinary journal of medieval research, 2016
The article discusses donor images and testamentary donations of lights, furnishings and art to t... more The article discusses donor images and testamentary donations of lights, furnishings and art to the Church in medieval Norway. A number of testaments, mentioning different types of visual donations, are discussed, as well as two visual sources: the altar frontal in Volbu church and the (now lost) wall paintings of Vang church. The Volbu frontal depicts four men kneeling in front of a statue of St. Blaise, probably representing a group of Volbu parishioners. The author suggests that the lost paintings of Vang, documented in watercolour in the 19th century, can be linked to the knight Sigvat of Leirhol. While all other Norwegian donor images have been lost, the written evidence supports the article’s claim that not only visual donations, but also donor images, were prevalent in medieval Norway.
Collegium Medievale, 2009
Tracing the Jerusalem Code Volume 1: The Holy City. Christian Cultures in Medieval Scandinavia (eds. Aavitsland & Bonde), 2021
Urnes kirke regnes av mange som den største juvelen i Fortidsminneforeningens eiendomsportefølje.... more Urnes kirke regnes av mange som den største juvelen i Fortidsminneforeningens eiendomsportefølje. Stavkirken er spektakulaert plassert på odden Ornes, 1 med høye berg over seg og bratte skråninger ned mot Lustrafjorden under seg. Den inkorporerer nordportalen fra en enda eldre stavkirke, interiøret er smykket med utsøkt skårne terningkapiteler og kirken huser en av Norges eldste korsfestelsesgrupper. Kirken ble innskrevet i Unescos Verdensarv i 1979.
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Papers by Margrethe C. Stang