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<dc:title xml:lang="fr">De la compassion du père à la trinité consolatrice : un motif particulier dans l’art franco-bourguignon et germanique du XIVe au XVIe siècle</dc:title>
<dcterms:alternative xml:lang="en">From the compassion of the father to the consoling trinity : a particular motif in franco-burgundian and germanic art from the 14th to the 16th century</dcterms:alternative>
<dc:subject xml:lang="fr">Trinité</dc:subject>
<dc:subject xml:lang="fr">Paternité</dc:subject>
<dc:subject xml:lang="fr">Compassion</dc:subject>
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<dc:subject xml:lang="fr">Consolation</dc:subject>
<dc:subject xml:lang="fr">Périchorèse</dc:subject>
<dc:subject xml:lang="fr">Économie du salut</dc:subject>
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<dc:subject xml:lang="en">Paternity</dc:subject>
<dc:subject xml:lang="en">Compassion</dc:subject>
<dc:subject xml:lang="en">Dulcedo</dc:subject>
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<dc:subject xml:lang="en">Perichoresis</dc:subject>
<dc:subject xml:lang="en">Economy of salvation</dc:subject>
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<dcterms:abstract xml:lang="fr">Cette thèse propose une analyse iconographico-doctrinale de la Compassion du Père, motif iconographique d’une Trinité qui apparait dans l’art franco-bourguignon à la fin du XIVe siècle. Le Père porte le Christ déposé de croix devant lui avec l’Esprit représenté en colombe. La présente étude compare cette Trinité particulière avec d’autres types iconographiques et effectue une description des 167 oeuvres du corpus retenu, limité aux sphères franco-bourguignonne et germanique du XIV au XVIe siècle. Au vu de leur message de consolation et de douceur, il s’agit de considérer ces témoins iconographiques comme un type iconographique à part entière, en leur accordant le titre de Trinité consolatrice. Ces oeuvres dénotent et insistent sur la paternité divine et la dulcedo Dei, ainsi que sur l’amour inconditionnel inhérent à la mort du Christ, dans une Trinité associant périchorèse et économie du salut.</dcterms:abstract>
<dcterms:abstract xml:lang="en">This thesis offers an iconographic and doctrinal analysis of the Compassion of the Father, an iconographic motif of the Trinity that appeared in Franco-Burgundian art at the end of the 14th century. The Father carries Christ, taken down from the cross, before him, with the Spirit represented as a dove. This study compares this particular Trinity with other iconographic types and describes the 167 works of the selected corpus, restricted to the Franco-Burgundian and Germanic spheres from the 14th to the 16th century. In view of their message of consolation and dulcedo, these iconographic witnesses should be considered as an iconographic type in their own right, unified under the title of Consoling Trinity. These works denote and emphasise divine paternity and the dulcedo Dei, as well as the unconditional love inherent in the death of Christ, in a Trinity combining perichoresis and the economy of salvation.</dcterms:abstract>
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