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Der Orpheusmythos in Der Malerei Des 19. Jahrhunderts Auf Basis Seiner Rezeptions- Und Wirkungsgeschichte

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Der Orpheusmythos in Der Malerei Des 19. Jahrhunderts Auf Basis Seiner Rezeptions- Und Wirkungsgeschichte DER ORPHEUSMYTHOS IN DER MALEREI DES 19. JAHRHUNDERTS AUF BASIS SEINER REZEPTIONS- UND WIRKUNGSGESCHICHTE: RECHERCHEN ZU EINEM UNSIGNIERTEN GEMÄLDE DIPLOMARBEIT zur Erlangung des Magistergrades an der Geisteswissenschaftlichen Fakultät der Universität Salzburg eingereicht von WOLFGANG WIESAUER Salzburg, am 01. 12. 2001 2 INHALTSVERZEICHNIS DER ORPHEUSMYTHOS IN DER MALEREI DES 19. JAHRHUNDERTS AUF BASIS SEINER REZEPTIONS- UND WIRKUNGSGESCHICHTE: RECHERCHEN ZU EINEM UNSIGNIERTEN GEMÄLDE I. PROBLEMATISIERUNG UND THESEN; METHODISCHE KONZEPTION .....7 A. ALTHISTORISCH -ARCHÄOLOGISCHE ANALYSE DER ALTORPHISCHEN ASPEKTE ........................................ 9 1. Die Zeitlosigkeit des Orpheusmythos................................................................................................... 9 2. Strukturen............................................................................................................................................. 9 B. ÜBERBLICK .............................................................................................................................................. 10 1. Orpheus“rollen“................................................................................................................................ 11 2. Die Idee von der Verwandtschaft der Künste..................................................................................... 12 C. ALS DARSTELLENDER SCHLUßBEWEIS : IKONOLOGISCHE UND IKONOGRAPHISCHE ANALYSE UND INTERPRETATION EINES UNSIGNIERTEN ORPHEUSGEMÄLDES / ZUWEISUNG AN HANS ALOIS SCHRAM .. 12 II. THEORETISCHE GRUNDLAGEN (A UND B)........................................................ 13 A. DER ALTHISTORISCHE KONTEXT : ALTHISTORISCH -ARCHÄOLOGISCHE ANALYSE DER ALTORPHISCHEN ASPEKTE .................................................................................................................................................. 13 a) Orpheus: Mensch oder Gott? ......................................................................................................................... 13 b) Des Orpheus Priorität gegenüber Homer ....................................................................................................... 13 c) Die göttliche Menis (Zorn) der Demeter: die Wurzel des Eurydike-Themas................................................ 14 d) Das alte orpheische Jenseitstor....................................................................................................................... 15 e) Das orpheische ‚Dem Tode entfliehen‘.......................................................................................................... 16 (1) (Die Harmonie des Orpheusgesanges als Symbol für) Das orphische Ziel der Harmonie ........................ 17 (2) Der übergegensätzliche Zweieinige Gott.................................................................................................. 18 f) Dike und Eurydike......................................................................................................................................... 18 (1) Zum Schlangenbiß.................................................................................................................................... 21 g) Orpheus: Thraker oder Äoler? ....................................................................................................................... 22 h) Apoll und Dionysos: die Dichotomie Apollinisch/Dionysisch...................................................................... 22 (1) „Apollon im Efeu, der bakchische Seher ...“ ............................................................................................ 22 (2) Zagreus ..................................................................................................................................................... 25 i) Die Leier des Orpheus.................................................................................................................................... 31 (1) Zur Ikonographie des Instrumentes........................................................................................................... 31 (2) Erzählstränge ............................................................................................................................................ 31 (3) Das orakelnde Haupt des Orpheus............................................................................................................ 32 (4) Das orpheische Erbe: Sappho ................................................................................................................... 32 (5) Astrotheosophische Deutung.................................................................................................................... 32 (6) Die Lyra als selbstständiges orpheusbezogenes Symbol in der Kunst...................................................... 33 (7) Das magische Element: die Kraft des Gesanges ....................................................................................... 33 B. ÜBERBLICK .............................................................................................................................................. 35 1. Sonderstellung der Orphik................................................................................................................. 36 a) Quellen und Interpreten ................................................................................................................................. 36 b) philosophische Rekurse.................................................................................................................................. 36 (1) Gnostik und Neuplatonismus.................................................................................................................... 36 (2) Florentiner Renaissance............................................................................................................................ 37 2. Antike ................................................................................................................................................. 37 a) Literatur / Musik............................................................................................................................................ 37 (1) archaische Zeit.......................................................................................................................................... 37 (2) Früh- und Hochklassik.............................................................................................................................. 37 (3) Hellenismus .............................................................................................................................................. 38 (4) späte Republik / Prinzipat / Kaiserzeit...................................................................................................... 38 (5) Spätantike / Frühchristentum.................................................................................................................... 39 b) Malerei........................................................................................................................................................... 40 (1) Wandmalerei............................................................................................................................................. 40 (2) Katakombenmalerei.................................................................................................................................. 41 (3) Vasenmalerei ............................................................................................................................................ 42 c) (Wand/Boden-)Mosaik................................................................................................................................... 42 3 d) Plastik ............................................................................................................................................................ 43 (1) Relief ........................................................................................................................................................ 43 (2) Freiplastik................................................................................................................................................. 43 (3) Bauplastik................................................................................................................................................. 44 e) Kleinkunst / Kunsthandwerk.......................................................................................................................... 44 f) Wechselberührung zwischen Dichtung, Bild- und Tonkunst......................................................................... 44 3. Kurz über das Mittelalter................................................................................................................... 45 a) Codex / Literatur / Miniatur (Buchmalerei und – illustration) ....................................................................... 46 (1) Hochmittelalter......................................................................................................................................... 46 (2) Quattrocento und Cinquecento / Spätmittelalter ....................................................................................... 47 b) Plastik ............................................................................................................................................................ 48 4. Die großen/wichtigsten Einflüsse und Vor-Bild(n)er
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