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The Beauty of the CrossThe Passion of Christ in Theology and the Arts from the Catacombs to the Eve of the Renaissance$
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Richard Viladesau

Print publication date: 2005

Print ISBN-13: 9780195188110

Published to Oxford Scholarship Online: February 2006

DOI: 10.1093/019518811X.001.0001

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The Monastic Paradigm and the Romanesque Style

The Monastic Paradigm and the Romanesque Style

Chapter:
(p.57) 3 The Monastic Paradigm and the Romanesque Style
Source:
The Beauty of the Cross
Author(s):

Richard Viladesau (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/019518811X.003.0003

The Romanesque ivory crucifix of Fernand and Sancha, with a smiling victorious Christ reigning from the cross, illustrates the aesthetic mediation of soteriology in the early middle ages. The theme of Christ as victorious hero is also seen in the vernacular religious poetry of the period like the “Dream of the Rood” and “The Heliand”. The theoretical mediation of “Christus Victor” theology is expressed in classical form by Gregory the Great. The “satisfaction theory” of Anselm produced a systematic theoretical alternative to earlier Patristic images. Abelard’s emphasis on Christ as teacher and example anticipated major themes of scholasticism, while Bernard of Clairvaux represented the monastic protest against incipient scholastic method. But these divergent theological paradigms nevertheless coincided in representing a new devotion to the humanity of Christ.

Keywords:   Abelard, Anselm, Bernard of Clairvaux, Christus Victor, humanity of Christ, monastic theology, satisfaction theory, Romanesque

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