Margrethe C. Stang | Norwegian University of Science and Technology (original) (raw)
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.
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.
HISTORISK TIDSSKRIFT, 2019
Book review
Review of Anna Nilsén's The Gothic Sculpture of Uppsala Cathedral (2014) in Journal of Northern S... more Review of Anna Nilsén's The Gothic Sculpture of Uppsala Cathedral (2014) in Journal of Northern Studies
The Medieval Scandinavian Art Reader, 2023
The Medieval Scandinavian Art Reader is the first anthology on medieval Scandinavian art and arch... more The Medieval Scandinavian Art Reader is the first anthology on medieval Scandinavian art and architecture in English. This book looks beyond national divisions to offer an integrated art history of medieval Scandinavia from the Iron Age to the post-Reformation afterlives of medieval artifacts. Beginning with a thorough introduction that maps the Scandinavian world, the twenty chapters situate the medieval monuments and objects in Scandinavia within a range of artistic traditions. Rigorously researched yet accessibly written by leading specialists in the field, the chapters offer fresh approaches to the study of medieval Scandinavia, such as migration, multiculturalism, gender, and materiality, as well as cultural heritage science. Beautiful illustrations, maps, and suggestions for further reading make this book an ideal companion for researchers, students, and the general reader to delve into the stunning, well-preserved visual histories of medieval Scandinavia.
Norges tekniske og naturvitenskapelige universitet I 1831 ble 93 gjenstander skåret av hvalrossta... more Norges tekniske og naturvitenskapelige universitet I 1831 ble 93 gjenstander skåret av hvalrosstann funnet av en lokal småbruker på øya Lewis i Hebridene. 78 av disse var sjakkbrikker, de øvrige bestod av en beltespenne og brikker til andre spill. Etter hvert ble hoveddelen av funnet kjøpt av British Museum i London, mens 11 ble kjøpt av det skotske nasjonalmuseet i Edinburgh. Sjakkbrikkene bestod av åtte konger, åtte dronninger, 16 løpere og 15 springere, 12 tårn og 19 bønder. Den berømte samlingen med sjakkbrikker er kjent som «The Lewis Chessmen». Figurene har ingen åpenbare tegn til bruksslitasje, og omstendighetene rundt funnet tyder på at de ble gravet ned kort tid etter at de hadde blitt produsert. De fleste forskere mener de er laget i Norge, og daterer dem til 1100-tallets siste halvdel. Mange har knyttet dem til Trondheim og miljøet rundt Nidarosdomen Figur 1. Sjakkdronningene fra Lewis fremstiller kongens ledsager som en klok og gavmild kvinne. Hånden som støtter hodet viser at hun tenker, mens drikkehornet symboliserer kongelig gjestfrihet og rikdom.
by Karoline Kjesrud, Nanna Løkka, Marina Prusac-Lindhagen, Unn Pedersen, Zanette Glørstad, Hanne Lovise Aannestad, Margrethe C. Stang, Ragnhild M . Bø, Bjørn Bandlien, Ingvil Brügger Budal, and Frode Iversen
Dronningen i vikingtid i middelalder.
Historical architecture walk at the Dragvoll University Campus in Trondheim, Norway, 11 November 2020. Organised by the Norwegian Historical Association in Trondheim, 2020
In January 2020, it was 50 years since Henning Larsen Architects (Henning Larsens Tegnestue) won ... more In January 2020, it was 50 years since Henning Larsen Architects (Henning Larsens Tegnestue) won the architectural competition for the university campus at Dragvoll in Trondheim in Norway. Today, the Norwegian University of Science and Technology at Dragvoll is located in the building complex. On Wednesday 11 November 2020, the art historian Margrethe C. Stang and the historian of ideas and heritage researcher Mattias Bäckström will take us on a historical architecture walk at the campus. Along the way, they will talk about the aesthetic, technical and social ideas and solutions that shaped the building complex, about the influence the building complex has had on the architecture of more recent days, and about the integrated works of art at the Dragvoll University Campus. The walk will be dialogical. Margrethe and Mattias hope that the participants will contribute with their own experiences as students or teachers at Dragvoll during the decades.