mandag 22. mai 2017
As mentioned in the previous blogpost, the beginning of last week was spent in the southwestern Danish town of Ribe, an important medieval bishopric and now a quaint, lovely, old-fashioned, seemingly timelocked settlement near the Jutland coast. There are several gems to be found around the town, some of which are big and striking like the medieval cathedral, some of which are small and easy to overlook like the many beautifully and creatively painted doors.
One such little gem is a bronze sculpture situated outside Ribe Viking Museum. The sculpture was created by the Danish artist John Olesen (b. 1938) in 1995, and now welcomes visitors who seek to get closer to ages past by exploring the many treasures of the museum. The idea of "the tooth of time", which is "tidens tand" in Danish and "tidens tann/tidas tann" in Norwegian (Bokmål and Nynorsk respectively), is a Scandinavian expression to denote the passing of time left visibly on objects. We say that something has been marked by the tooth of time, an image of quiet nibbling that I find very pleasing and immensely poetic. A very fitting concept to be reminded of before stepping into a museum to behold items that have been gnawed away by the tooth of time.
fredag 19. mai 2017
Earler this week, my colleages and I went to Ribe for our annual gathering, the one time of the year when our two branches of the Centre for Medieval Literature meet to discuss academic matters, catch up on each others' research, and to socialise in a place with medieval connections. Ribe is a small town in the southwest of Jutland. It is colloquially known as Denmark's oldest town, as it was one of Scandinavia's most important trading sites during the pre-conversion period. After the conversion of Denmark, Ribe became a bishopric and its cathedral has still layers from the twelfth and the thirteenth century.
I hope to return to a more general description of the church itself later, but for now I present you with one of my favourite details from the church space, found at the western end of the northern side naves, namely a glorious depiction of Saint George fighting the dragon. I'm tempted to think that the female figure placed above the two combatants is princess Alexandra, the maiden saved by Saint George - and in older calendars she was also venerated as a saint - but it might also be a different figure altogether, possibly the Virgin Mary.
I have not found any information about when this set of wooden sculptures were made, but I hazard to guess early sixteenth century. It is certainly not modern, and it is a wonderful depiction of one of my favourite scenes from hagiographic art.