Imagining the unimaginable : the iconography of the Trinity in England, c. 1000-1300
This thesis explores the ways in which medieval artists visualised the Trinity. It seeks to understand how an 'unimaginable' and paradoxical idea - that God is one being and yet three, Father, Son and Holy Spirit - was depicted in visual form. The study focuses primarily on English visual culture from c. 1000-1300, where the two most common representations of the Trinity, the Seated Trinity and the Gnadenstuhl, developed. It offers new perspectives on the eleventh- and twelfth-century contexts in which these influential Trinitarian images appeared, tracing their transmission across many types of media, from manuscript illumination to wall paintings, stained glass, metalwork and sculpture in stone, ivory and wood. It shows how, at the turn of the thirteenth century, the Seated Trinity and the Gnadenstuhl evolved from images known and used in relatively limited circles to the two most common representations of the Trinity. This process is contextualised within the broader shifts in theology and debate during this period, where both Trinitarian ideas and images underwent momentous and radical changes. This thesis also examines how the standardisation and proliferation of the iconography of the Seated Trinity
Kelly, Sophie
D History General and Old World
Imagining the unimaginable : the iconography of the Trinity in England, c. 1000-1300. This thesis explores the ways in which medieval artists visualised the Trinity. It seeks to understand how an 'unimaginable' and paradoxical idea - that God is one being and yet three, Father, Son and Holy Spirit - was depicted in visual form. The study focuses primarily on English visual culture from c. 1000-1300, where the two most common representations of the Trinity, the Seated Trinity and the Gnadenstuhl, developed. It offers new perspectives on the eleventh- and twelfth-century contexts in which these influential Trinitarian images appeared, tracing their transmission across many types of media, from manuscript illumination to wall paintings, stained glass, metalwork and sculpture in stone, ivory and wood. It shows how, at the turn of the thirteenth century, the Seated Trinity and the Gnadenstuhl evolved from images known and used in relatively limited circles to the two most common representations of the Trinity. This process is contextualised within the broader shifts in theology and debate during this period, where both Trinitarian ideas and images underwent momentous and radical changes. This thesis also examines how the standardisation and proliferation of the iconography of the Seated Trinity
imagining iconography trinity england explores_way medieval artist visualise trinity seek paradoxical idea god yet father son holy spirit depict visual_form study_focus primarily english visual_culture common representation trinity trinity develop offer_new perspective eleventh twelfth_century context influential trinitarian image appear trace transmission across many type medium manuscript illumination wall_painting stain glass metalwork sculpture stone ivory wood show turn trinity evolve image know use relatively limited circle common representation trinity process contextualised_within broad shift theology debate period trinitarian idea image undergo momentous radical_change also_examine standardisation proliferation iconography trinity