Jungfru Maria såsom corredemptrix eller medåterlösarinna framställd i teologisk litteratur och bildkonst från Sveriges medeltid

Abstract

Summary The Blessed Virgin Mary represented as corredemptrix in liturgical writings and sacred art from medieval Sweden St. Bridget and her confessor, the Venerable Peter of Skänninge, have composed a daily office of Our Lady to be performed by the sisters in the abbey of Vadstena. They have arranged this form of worship to emphazise Mary's contribution to the work of redemption, presenting her as assisting Jesus Christ. The Blessed Virgin is portrayed from a specific aspect on each day of the week. In the Tuesday and Wednesday offices Mary is represented as the second Eve. The Friday office is devoted to the Passion of Christ and the Compassion of Mary. Because of her willingness to submit to the suffering which the task would impose on the Redeemer and herself, Mary participated in the work of redemption. Consequently she is worthily called corredemptrix. There are several works of art from medieval Sweden—paintings, wood carvings, textiles—which represent Jesus Christ as the Mediator of all mankind before God the Father, while Mary symbolizes all those who are willing to be redeemed by Jesus Christ, her divine Son. A prominent artist who lived in the beginning of the 16th century, has painted murals in Enånger old church in Hälsingland, in Ytter‐Lännäs church in Ångermanland and in Årsunda church in Gästrikland. In these murals Christ and Mary are depicted side by side, interceding for humanity before God the Father Christ appeals to his Father because of his wounds which are still bleeding, whereas Mary invokes God because of her motherhood. There is a carved reredos in Forsa church in Hälsingland, from the beginning of the 16th century by Håkan Gullesson, a local sculptor. On the left Christ is represented. He is kneeling before God the Father, holding his cross and pointing at the wound in his side. On the right the Blessed Virgin is kneeling before Jesus Christ, indicating her naked breast, a symbol of her motherhood. On a painted reredos in Strängnäs cathedral, which was made in Antwerp at the end of the 15th century, Jesus Christ and his holy mother are depicted together, kneeling before God the Father, who is represented as a king on his throne. Christ is holding his cross and is pointing at the wound in his side. The Blessed Virgin is pointing at her naked breast. She is represented in her capacity of corredemptrix. From Drev church in Småland a beautiful chasuble has been preserved, woven of blue velvet in the early 16th century. On the back there is a great cross. In the middle of this cross the Blessed Virgin is represented, surrounded by a rosary. Such an embroidery symbolizes Mary's contribution to the work of redemption in a most extraordinary manner.