Abstract | U 14. stoljeću nakon širenja bubonske kuge, katastrofalne posljedice pokosile su Europu, a čovjek je kroz borbu za opstanak postao svjestan vlastite smrtnosti. Memento mori odisao je čitavim srednjim vijekom, a dolaskom prosjačkih redova rasla je svijest o prolaznosti života i onoga što nas čeka poslije smrti. Kao odraz sveopćeg stanja, ikonografska tema Plesa mrtvaca (franc. Danse macabre, njem. Totentanz), širila se srednjovjekovnom Europom. Ples vode kosturi koji se uvijaju oko živih, a nekada i sviraju instrumente. Na čelu povorke su najčešće pripadnici viših društvenih staleža, među kojima su pape, biskupi, kraljevi ili plemići, a niz se završava običnim pukom. Bez obzira na društveni status pojedinaca, poruka Plesa mrtvaca je jasna: svi su jednaki pred vratima smrti, ona ne bira ni dob ni spol. Najraniji primjerak ove ikonografske teme pronađen je na pariškom groblju des Innocents 1424. godine, a slijede ga plesovi iz Berlina, Londona, Tallina, Tarłowa, Berma i Hrastovlja. |
Abstract (english) | The European 14th century bubonic plague outbreak had major catastrophic consequences and medieval man, through the fight for survival, became fully aware of his own mortality. Memento mori philosophy flourished in Medieval Europe and with the arrival of mendicant orders there grew an awareness of the impermanence of human life and what awaits us after death. As a result of the present situation iconographic theme of Dance of death spread through Medieval Europe. The dance is led by skeletons wraped around the living sometimes even playing musical instruments. The line begins with members of the highest social ranks like popes, bishops, kings and ends with the common people. The message is clear: regardless of the social status of individuals everyone is equal in death. The earliest example of this iconographic theme was found in the Parisian cemetery des Innocents in 1424. and it is followed by Dances from Berlin, London, Tallin, Tarłow, Beram and Hrastovlje. |