This paper offers some reflections on the genesis and the first diffusion of the figurative theme of the genealogy of Christ, known as the “Tree of Jesse”, a visual union of two biblical verses from Isaiah (“But a shoot shall sprout from the stump of Jesse, and from his roots a bud shall blossom. The spirit of the Lord shall rest upon him: a spirit of wisdom and of understanding, a spirit of counsel and of strength, a spirit of knowledge and of fear of the Lord”, Is 11:1-2) and the incipit of the Gospel of Matthew (“Abraham begat Isaac... Obed begat Jesse, Jesse begat King David... Jacob begat Joseph, the husband of Mary, of whom was born Jesus, who is called Christ”, Mt 1:1-18). Starting from the second quarter of the 12th century, the union of these two sources gives rise to the image of a tree that grows from the side of Jesse (portrait lying at the base of the representation), welcomes above the generations of the kings and biblical prophets (the former along the vertical trunk, the latter on the branches) and culminates, at the top, with the image of the Virgin (most often holding the Child in her arms and surrounded by the seven doves of the Holy Spirit). The investigation focuses on the question of its origins (most likely to be assigned to the monastic environment of the West), on its subsequent appearance in the mosaic of the counter-façade of the Basilica of the Nativity in Bethlehem (1169) and on its fortune in the Christian East (attestation starting from the 13th century, in the Byzantine and Transcaucasian area), on the formal differences between the Latin model (generally composed of an arborescent organism articulated in a symmetrical and conventional way) and the Eastern model (characterized by a trunk and branches of naturalistic type). On the iconological level, attention is paid to the strong symbolic values, linked both to the liturgy of Christmas and to the celebration of the royal lineage, a concept widely exploited by courtly patrons, both in the Latin and Greek-Oriental worlds.

Il saggio propone alcune riflessioni sulla genesi e la prima diffusione del tema figurativo della genealogia di Cristo, noto come “Albero di Iesse”, unione visiva di due versi biblici di Isaia (“Un germoglio spunterà dal tronco di Iesse, un virgulto germoglierà dalle sue radici. Su di lui si poserà lo spirito del Signore, spirito di sapienza e di intelligenza, spirito di consiglio e di fortezza, spirito di conoscenza e di timore del Signore”, Is 11, 1-2) e dell’incipit del vangelo di Matteo (“Abramo generò Isacco... Obed generò Iesse, Iesse generò il re Davide... Giacobbe generò Giuseppe, lo sposo di Maria, dalla quale è nato Gesù chiamato Cristo”, Mt 1, 1-18). A partire dal secondo quarto del XII secolo, l’unione di queste due fonti dà luogo all’immagine di un albero che nasce dal fianco di Iesse (ritratto disteso alla base della rappresentazione), accoglie superiormente le generazioni dei re e dei profeti biblici (i primi lungo il tronco verticale, i secondi sui rami) e culmina, in alto, con l’immagine della Vergine (il più delle volte reggente il Bambino in braccio e circondata dalla sette colombe dello Spirito Santo). L’indagine si concentra sulla questione delle sue origini (da assegnare verosimilmente all’ambiente monastico dell’Occidente), sulla successiva comparsa nel mosaico della controfacciata della basilica della Natività a Betlemme (1169) e sulla sua fortuna nell’Oriente Cristiano (attestazioni a partire dal XIII secolo, in area bizantina e transcaucasica), sulle differenze formali tra modello latino (in genere composto da un organismo arborescente articolato in modo simmetrico e convenzionale) e modello orientale (contraddistinto da un tronco e da rami di genere naturalistico). Sul piano iconologico, l’attenzione viene rivolta alle forti valenze simboliche, legate tanto alla liturgia del Natale quanto alla celebrazione della stirpe regale, concetto ampiamente sfruttato dalla committenza aulica, sia nel mondo latino che in quello greco-orientale.

Origini, sviluppo e diffusione dell’Albero di Iesse fra Occidente, Terra Santa e Bisanzio

Simone Piazza
2024-01-01

Abstract

This paper offers some reflections on the genesis and the first diffusion of the figurative theme of the genealogy of Christ, known as the “Tree of Jesse”, a visual union of two biblical verses from Isaiah (“But a shoot shall sprout from the stump of Jesse, and from his roots a bud shall blossom. The spirit of the Lord shall rest upon him: a spirit of wisdom and of understanding, a spirit of counsel and of strength, a spirit of knowledge and of fear of the Lord”, Is 11:1-2) and the incipit of the Gospel of Matthew (“Abraham begat Isaac... Obed begat Jesse, Jesse begat King David... Jacob begat Joseph, the husband of Mary, of whom was born Jesus, who is called Christ”, Mt 1:1-18). Starting from the second quarter of the 12th century, the union of these two sources gives rise to the image of a tree that grows from the side of Jesse (portrait lying at the base of the representation), welcomes above the generations of the kings and biblical prophets (the former along the vertical trunk, the latter on the branches) and culminates, at the top, with the image of the Virgin (most often holding the Child in her arms and surrounded by the seven doves of the Holy Spirit). The investigation focuses on the question of its origins (most likely to be assigned to the monastic environment of the West), on its subsequent appearance in the mosaic of the counter-façade of the Basilica of the Nativity in Bethlehem (1169) and on its fortune in the Christian East (attestation starting from the 13th century, in the Byzantine and Transcaucasian area), on the formal differences between the Latin model (generally composed of an arborescent organism articulated in a symmetrical and conventional way) and the Eastern model (characterized by a trunk and branches of naturalistic type). On the iconological level, attention is paid to the strong symbolic values, linked both to the liturgy of Christmas and to the celebration of the royal lineage, a concept widely exploited by courtly patrons, both in the Latin and Greek-Oriental worlds.
2024
Medioevo europeo e mediterraneo: scambi, circolazione e mobilità artistica
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/5082101
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