Erhaben im Tod: Romanische Kreuze
Romanische Kreuze in der Steiermark.
Kurz-Videoportrait, Graz 2018; Dauer: 1’53”
Romanesque Crosses in Styria.
Short video portrait, Graz 2018; duration: 1’53”
Buch/Regie: Johannes Rauchenberger; Mitarbeit: Florian Traußnig
Komposition/Kamera/Schnitt: Elias Rauchenberger
Ausstellung: »Last & Inspiration. 800 Jahre Diözese Graz-Seckau«, Priesterseminar/Diözesanmuseum Graz, 12. Apr.–14. Okt. 2018
Written and directed by Johannes Rauchenberger; Assistant: Florian Traußnig
composition, cinematography, editing: Elias Rauchenberger,
Exhibition: »Burden & Inspiration. 800 Years Diocese of Graz-Seckau«, Priest Seminary/Diocesan Museum Graz, 12 April – 14 October 2018
Sublime in Death: Romanesque Crosses
For almost 1,000 years, no crucified Christ had been depicted in three dimensions. When this happened for the first time with the Gero Cross of Cologne (970), the development of art was on the eve of the Romanesque period. From then on, the Crucified is regarded as the sublime victor over death: barely suffering, but victorious, with arms stretched out. Only six Romanesque crucifixes have been preserved in situ in Styrian churches, in Haus (around1150), Aflenz, Göß, Leoben-St Xaver (each around1180), Pürgg and Seckau (around 1220). The Crucified is represented either strictly straight with arms stretched to the side or slightly bent with an inclined head. Most of them show Christ on the cross with parallel feet and two nails in the feet (»four-nail type«). The crucifixion in Seckau is outstanding, the Crucified (around1220) has a moving body and winglike bent, widely extended arms. In the Gothic period, the Risen Christ on the Cross becomes the Son of Man Maltreated on the Cross.
Text aus |Text from: Last & Inspiration. 800 Jahre – 8 Fragen. Ausstellungen zu »800 Jahre Diözese Graz-Seckau« | Burden & Inspiration. 800 Years – 8 Questions. Exhibitions on »800 Years of the Diocese of Graz-Seckau«, herausgegeben von | edited by Heimo Kaindl, Alois Kölbl, Johannes Rauchenberger, Styria Verlag, Wien 2018, S. | p. 236-237.