Abstract
Abstract Small, mass-produced pipe-clay figurines were popular devotionalia in the late medieval Low Countries. In this paper, focusing on representations of the Christ Child, I study the sensory and playful ways in which such objects were used as ‘props of perception’ in spiritual games of make-believe or role-play. Not only does this particular iconography invite tactile and playful behaviour, the figurines fit within a larger context of image practices involving visions and make-believe. Through such practices images were animated and imbued with a divine power. Contemporary written sources suggest that, especially for women, ownership of and sensory engagement with small-scale figures provided them with agency.
Highlights
Small, mass-produced pipe-clay figurines were popular devotionalia in the late medieval Low Countries
In this paper, focusing on representations of the Christ Child, I study the sensory and playful ways in which such objects were used as ‘props of perception’ in spiritual games of make-believe or role-play. Does this particular iconography invite tactile and playful behaviour, the figurines fit within a larger context of image practices involving visions and make-believe
2 As Linda Hurcombe states in an articles in which she argues for a larger role of the senses in archaeological practice: “Nobody argues that staging an ancient play is a reconstruction of past
Summary
On their later production in the Low Countries, see Sebastiaan Ostkamp, Productie en gebruik van pijpaarden en terracotta devotionalia in de Nederlanden In: Hans Kroeze and Martin Hillenga provide evidence of a shared culture of devotion between lay and religious people.[9] Sebastiaan OSTKAMP’s synthesising study of pipe-clay objects, discussing production, use and iconography, suggest that the statuettes were used in daily prayer and meditation.[10]. In his archaeological study of the material culture of the convent of Bethlehem near Hoorn, Christiaan Schrickx concludes that the large amount of pipe-clay figures found means they must have been used outside of the chapel as pious decoration: Schrickx (note 8), p. In his archaeological study of the material culture of the convent of Bethlehem near Hoorn, Christiaan Schrickx concludes that the large amount of pipe-clay figures found means they must have been used outside of the chapel as pious decoration: Schrickx (note 8), p. 297
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