Representations of the zodiacal signs in High Medieval art

Upodobitve zodiakalnih znamenj in mesečnih opravil so v srednjem veku simbolizirale čas in njegov potek, ritem letnih časov in mesečnih aktivnosti. Ta dva motiva skupaj sestavljata motiv koledarskega cikla. Na splošno lahko navedemo, da ima koledarski cikel v srednjeveški ikonografiji namen predstavljanja poteka časa, zemeljskega časa, ki ga je ustvaril Bog. Ker pa se motiv koledarskega cikla redko pojavlja kot samostojen motiv in je večinoma vključen v širši ikonografski kontekst, je tudi njegov specifičen pomen od tega konteksta odvisen. V nalogi se osredotočam na obdobje 12. stoletja, saj so takrat nastali najmogočnejši spomeniki, ki so v svoji ikonografski zasnovi uporabili izbrana motiva, skupaj povezana v celoto. Pozornost je posebej posvečena dvema primeroma arhitektur iz Francije tistega obdobja. To sta primer bazilike svete Marije Magdalene v Vézelayju in primer katedrale Notre Dame v Chartresu. Delo je zastavljeno tako, da obravnava motiva najprej posamezno, potem pa še kot skupni motiv, cikel časa. Zaradi lažjega razumevanja vloge motiva v 12. stoletju je v delu tudi zgodovinski pregled ključnih primerov upodobitev obeh motivov od njunih prvih pojavov v antiki do 12. stoletja, ko sta že vzpostavljena kot samostojna motiva. Izpostavljen je tudi pomen alegorije Cerkve, ki je vplivala na srednjeveško dojemanje cerkvene arhitekture in njenih sestavnih delov. Prek proučevanja omenjenih primerov pa razkrijemo pomen specifičnega koledarskega cikla v določenem kontekstu v 12. stoletju.In the Middle Ages, depictions of the zodiac signs and monthly tasks symbolised time and its passage, the rhythm of the seasons and monthly activities. Together, these two motifs form the motif of the calendar cycle. In general terms, the calendar cycle in medieval iconography has the purpose of representing the passage of time, the earthly time created by God. However, since the calendar cycle motif rarely appears as a stand-alone motif and is mostly integrated into a broader iconographic context, its specific meaning is also dependent on this context. In this thesis, I focus on the 12th century, since this is the period when the most magnificent monuments were created, which used the two motifs packed together as the motif of the calendar cycle in their iconographic design. Attention is paid in particular to two examples of architecture from France of the period. These are the example of the Basilica of Saint Mary Magdalene in Vézelay and that of Notre Dame Cathedral in Chartres. The assignment is structured in such a way that it considers the two motifs first individually, and then as a common motif, the cycle of time. In order to facilitate an understanding of the role of the motif in the 12th century, the assignment also includes a historical overview of key examples of depictions of the two motifs, from their first appearances in antiquity to the 12th century, when they were already established as motifs in their own right. The importance of the allegory of the church, which influenced the medieval perception of church architecture and its components, is also highlighted. Through the study of these examples, the importance of a specific calendar cycle in a specific context in the 12th century is revealed