Abstract
Among the early medieval illuminated manuscripts of the ninth century, the De laudibus sanctae crucis (Cod. Reg. Lat 124) by Hrabanus Maurus offers one of the most complex interplays of image-text relationships based on carmina figurata. It unfolds different levels and strategies of figuration. The specific aspects and qualities of its iconic practice can be described as a kind of coding. The coded subject and leitmotif of the cycle, which affects and gives structure to all other miniatures, is the central figure of Christus triumphans. The essay focuses on the detailed description and analysis of this symbiotic dynamic of a figural impulse that combines seeing, reading, and imagination into a meta-concept of figuration.
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Abbildungsnachweis: 1, 7, 10 Kotzur und Wilhelmy 2006 (wie Anm. 2), 48. – 2 Kotzur und Wilhelmy 2006 (wie Anm. 2), 74. – 3, 4 Kotzur und Wilhelmy 2006 (wie Anm. 2), 76. – 5 van den Brink und Ayooghi 2014 (wie Anm. 92), 188. – 6 Ernst 1991 (wie Anm. 5), 243. – 8 van den Brink und Ayooghi 2014 (wie Anm. 92), 172. – 9 Stiegemann und Wemhoff 1999 (wie Anm. 36), 444.
© 2016 Matthias Schulz, published by De Gruyter
