Empathy and the Performing Body: The Sculpted Compianto in Early Modern Lombardy
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From the late Middle Ages through the early modern period, scenes from Christ’s Passion portrayed in devotional literature, liturgical drama and art represent a devotional and meditative strain in religious culture in which powerful emotions are elicited in the individual and the community of faithful, in order to empathically involve them in this tragic narrative. In northern Italy, sculpted ensembles of the Compianto sul Cristo morto, or Lamentation Over the Dead Christ, rendered in terracotta and wood, serve as some of the best examples of ‘performing’ works of religious art designed to inspire this empathic response in the viewer. Concentrating on the theme of compassio – shared suffering – this paper examines the ‘embodied emotion’ represented by individual characters in Lombard examples of the sculpted Lamentation, highlighting how specific actions and gestures of the performing figures draw on the tradition of funerary practices as well as devotional and dramatic traditions of the Lamentation, as evidenced in texts from Lombardy in the fifteenth and sixteenth centuries.
Empathy and the Performing Body: The Sculpted Compianto in Early Modern Lombardy by Andrew Horn is licensed under CC BY-NC-ND 4.0 keywordsSculpture; religious theatre; Lamentation Over the Dead Christ; embodied emotion; compassio.Biografia dell'autoreAt the time of writing, Dr Andrew Horn recently completed a Leverhulme Early Career Fellowship in the School of Art History at the University of St Andrews, where has also served as an Associate Lecturer –drandrewjhorn@gmail.com. |
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