Schadewaldt H
Institut für Geschichte der Medizin, Heinrich-Heine-Universität.
Schweiz Rundsch Med Prax. 1993 Sep 7;82(36):986-92.
Out of the complex theme a specific phenomenon is chosen which most likely can be assigned to the appearance of the plague in Europe in the late medieval times: 'the dance of death' mainly in its artistic, particular graphical expression. To this intent the 2600 originals of the Düsseldorf University collection are used. The prerequisites for this novel art are discussed: the sudden outbreak of the plague in Italy 1347/48, the precursors of the legend about the three living and the three dead, the so-called 'transitoriness poems', the 'Conflictus literature' and other ideas about symbolism of death in classical antiquity and early christianism are opposed to the dances of death. The latter and confrontation of the various classes and professions with the merciless death over the following centuries is used with many examples to show the changing views up to the present times. The strong religious component subsides slowly in the Baroque to a more extroverted depiction. The Age of Elightment presents yet other pictures than the 19th and 20th century where death is confronted with still new professions and events, also from technical domains. Medicine and the physicians play an important role in this from the beginning on. The question after the memento mori remains for the mortal.
从这个复杂的主题中选取了一个特定现象，它很可能与中世纪晚期鼠疫在欧洲的出现有关：主要是其艺术形式，特别是图形表现形式的“死亡之舞”。为此，使用了杜塞尔多夫大学收藏的2600件原作。讨论了这种新颖艺术的前提条件：1347/48年意大利鼠疫的突然爆发、关于三个活人和三个死人传说的前身、所谓的“无常诗”、“冲突文学”以及古典古代和早期基督教中其他关于死亡象征的观念，与死亡之舞形成对比。后者以及随后几个世纪中各阶层和职业与无情死亡的对峙，通过许多例子展示了直至当今不断变化的观点。在巴洛克时期，强烈的宗教成分逐渐消退，转向更外向的描绘。启蒙时代呈现出与19世纪和20世纪不同的画面，那时死亡面对的是来自技术领域等新的职业和事件。从一开始，医学和医生就在其中扮演重要角色。对于凡人来说，“记住你终有一死”的问题依然存在。
