Lenten veils in the eastrn alps region from 1450-1530 and the passion cycles of the Church of the Holy Spirit in Slovenj Gradec and the st. Peter\u27s church above Begunje

Pasijonska cikla v cerkvah sv. Duha v Slovenj Gradcu in sv. Petra nad Begunjami sta po številu prizorov najobsežnejša v slovenskem srednjeveškem slikarstvu. V literaturi se je v zvezi z obema cikloma že večkrat omenjala povezava s postnimi prti, kakršne pozna gotika v alpskih deželah. Kljub temu konkretnih primerjav še ni bilo opravljenih. Z raziskavo, opravljeno v tem magistrskem delu, sem želela ugotoviti, kakšen vpliv so imeli postni prti na oba pasijonska cikla, predvsem na izbiro motivov in zaporedje prizorov ter ikonografske podrobnosti. Raziskava je pokazala, da so na oba pasijonska cikla zelo verjetno vplivali postni prti z avstrijske Koroške, a tudi s širšega srednjeevropskega prostora (Štajerska, južna Nemčija). Na to kaže likovna zasnova obeh poslikav in enako zaporedje motivov. Zaradi slabe ohranjenosti postnih prtov ni bilo mogoče najti direktnega vzora za katero od obeh stenskih poslikav, domnevam pa, da sta se slikarja zgledovala tudi po stenskih poslikavah. Enakomerna geografska razširjenost postnih prtov in poslikav z največ pasijonskimi prizori kaže na obstoj tematskih predlog, ki so bile lahko vzorčne knjige, grafične predloge ali holandska štiridesetlistna Biblia pauperum.The passion cycles in the Church of the Holy Spirit in Slovenj Gradec and the Church of St. Peter above Begunje contain the most scenes and are therefore the largest cycles in the Slovenian medieval art of painting. Literature has linked both of these cycles multiple times with Lenten veils, known by the Gothic art in the Alpine countries. Despite all of this, specific comparison still needs to be made. My goal of this thesis was to research the influence of Lenten veils on the aforementioned passion cycles, theme selection, scene sequence and iconographic details. The research has shown that both passion cycles were most likely influenced by Carinthian Lenten veils and also from a wider Central European area (Styria, southern Germany), which is indicated by the artistic concept of both paintings and the same theme sequence. Due to the poor preservation of Lenten veils I was unable to find a direct pattern for either of the two murals, though I presume that both painters followed also the example of other mural paintings. An approximate uniform geographical range of Lenten veils and murals with the most passion scenes indicates the existence of theme templates, which could have either been sample books, graphic templates or the Dutch 40-leaf Biblia pauperum