Keywords:
«Noli me tangere», Mary Magdalene, Joseph of Arimathea, Jesus Christ, Christus hortolamus, Hortus conclusus, Ars Nova, Netherlandish painting, Passion cycle, mirophores, Northern Renaissance, liturgical drama, stigmata, resurrection of Christ
To cite this article
Yaylenko E.V., Bogomolova Y.Y.
The Image of Mary Magdalene in the Plot of "Noli me tangere" in Netherlandish Paintings, of the 15th–17th Centuries. // Theory and History of Art.
2024.
N 1/2,
p.89-116
Among the gospel stories, the episode with the appearance of the resurrected Christ to Mary Magdalene took a special place, first in the liturgy, and then, in a logical manner, in the complex of accompanying artistic phenomena, which could be groupped under the concept of "the Bible for the illiterate". This exciting scene is found in narrative cycles in the temple scenery, staged in productions of liturgical dramas and urban mysteries, and with the development of easel painting it stands out as a separate plot, which received the Latin name "Noli me tangere" (Don't touch me!).
In Northern Renaissance painting, the iconography of the subject was enriched by a number of features that were consolidated and developed in the art of the 16th–17th centuries. In some works these features were expressed in unexpected forms.
This article presents the characteristic features of the visual interpretation of the plot "Noli me tangere", in particular the interpretation, of the images of Mary Magdalene and Jesus Christ in Netherlandish painting of the 15th–17th centuries, based on the regional traditions of Germany and the Netherlands.
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