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Österreichische Zeitschrift für Kunst und Denkmalpflege LXXVII, Heft 2

Österreichische Zeitschrift für Kunst und Denkmalpflege LXXVII, Heft 2
Der Linzer Mariendom
Nummer:
LXXVII
Jahrgang:
2023
Heft:
2
1. Auflage, 2024
Heft 2 des Jahres 2023 beschäftigt sich mit dem Linzer Mariendom. Unter Verwendung neuen Archiv- und Fotomaterials wird dieser sowohl aus kunst- wie auch aus kulturhistorischer Sicht unter besonderem Augenmerk auf wichtige Ausstattungselemente, wie den Glasfenstern und Mosaiken sowie den öffentlichen Raum, beleuchtet. Nach einer stilistischen Einordnung durch Günther Buchinger und Tobias Lindorfer, interpretiert Anna Minta die (Neo)Gotik des Mariendoms als architektonisches und gesellschaftliches Reformprojekt. Danach wird von Michael Hager und Katrin Spindler auf die Bedeutung und den Wandel des öffentlichen Raums um den Dom eingegangen. Markus Stickler analysiert die Linzer Dombauhütte als Schnittstelle von Mittelalter und Moderne und Ewald Volgger erläutert das ursprüngliche Raumkonzept und die jüngste liturgische Neugestaltung. Danach folgen kulturhistorische Betrachtungen zur Entstehung des Doms durch den Gründer Bischof Franz Joseph Rudigier und seiner Geisteshaltung von Nina Kogler und zu den Frauenbildern im Mariendom von Martina Resch. Christina Wais-Wolf widmet sich der Fensterausstattung mit Schwerpunkt auf die Restauriergeschichte. Auf die Restaurierung des Kapellenkranzes mit seinen Mosaiken geht Susanne Beseler ein und der abschließende Beitrag von Judith Wimmer ist den liturgischen Objekten des Mariendoms gewidmet.
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Vorwort
Paul Mahringer
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Der Linzer Mariendom. Ausdruck einer Zeitenwende?
One of Austria’s most important examples of neogothic religious architecture from the nineteenth century, the artistic design of Linz’s Mariendom (New Cathedral) is the product of a complex combination of social transitions and political changes within the Church, as well as discussions in the arts, as analysed in this article. The construction project was initiated by Bishop Franz Joseph Rudigier, a disciple of clerical patriotism, who commissioned Vincenz Statz, an architect and stonemason trained in the Cologne cathedral workshop (Dombauhütte) who had a practice-oriented approach in the spirit of the Middle Ages. Congenially influenced by the attitudes of late Romanticism, they ventured into new artistic territory, crossing over the threshold to late Viennese Historicism without abandoning their roots in Romantic Historicism. The cathedral therefore stands at an artistic junction that coincides with a historical turning point for the Catholic church in Austria.
Schlagworte:
Günther Buchinger - Tobias Lindorfer
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Der Linzer Mariendom und die (Neo)Gotik als architektonisches und gesellschaftliches Reformprojekt
Bishop Franz J. Rudigier took the dogma of the Immaculate Conception as an opportunity to build a monumental cathedral in Linz. In April 1855 he called for a “beautiful and large temple in the Gothic or Byzantine style”. Shortly afterwards the decision was made in favour of the Gothic style. The article argues that this stylistic decision was not only motivated by matters of aesthetic taste; rather, the choice of the Gothic (Revival) style was also part of efforts to pursue an ambitious project of social reform. The cathedral’s construction is indicative of an attempt at moral mobilisation and social education in the spirit of Catholicism. By employing the Gothic style, iconography and value system which followed an idealised retrospective view of the Middle Ages, the cathedral became the focal point of a wide-reaching popular campaign for Christian values and community. Catholic periodicals, consulted as source materials, demonstrate that Gothic (Revival) architecture was used both as a stylistic device and as a built vision for constructing Church and society.
Schlagworte:
Anna Minta
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(K)Ein Platz für das Denkmal. Untersuchung des öffentlichen Raumes am Beispiel des Mariendoms
An urban square along Herrenstrasse and Stifterstrasse was chosen as the construction site for Linz’s Mariendom. The cathedral was built at a time when the surrounding quarter was already heavily developed, so this decision posed many challenges for the planners. The matter of creating a suitable plaza for the cathedral and gaining access to the area became the subject of many a design proposal. The management of the established urban fabric surrounding the sacred building and its historical holdings required a great deal of sensitivity. As natural as the spacious cathedral plaza and the fact that it is possible to walk around the building may seem today, they are in fact the result of a decades-long planning process that only reached its conclusion in the recent past. During the 100th anniversary of the cathedral’s consecration in 2024, the building’s history continues to be written in a forward-looking way with the addition of a new meeting place.
Schlagworte:
Michael Hager - Katrin Spindler
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Die Linzer Dombauhütte als Schnittstelle von Mittelalter und Moderne
Against the backdrop of an idealistic and romanticised attitude towards medieval construction workshops in the nineteenth century, the Linz Cathedral Workshop (Dombauhütte) was established on 5 May 1862 to mark the construction of the Mariendom. As a strictly paternalistic and hierarchical form of organisation, the Linz Cathedral Workshop is analysed as an institution that represents the conservative values of those in charge of the construction project. The Linz Cathedral Workshop repeatedly incorporated the latest technical tools into the practice of building the Mariendom to cope with the demands of this enormous construction project. In this sense, and in the disputes relating to the workers’ movement that was emerging at the end of the nineteenth century, the Linz Cathedral Workshop reveals itself to be an institution in which aspects of Modernism and the Middle Ages reached their culmination.
Schlagworte:
Markus Stickler
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Das ursprüngliche Raumkonzept des Linzer Mariendoms und die jüngste liturgische Neugestaltung
Conceived in the mid-nineteenth century, the original interior concept for Linz’s Mariendom reflected the Church’s requirements for places of worship and for altar design. The cathedral was built in the sober neogothic style, with only a few details changed at a later date. The interior of the church is informed by post-Tridentine Eucharistic theology, the contemporary understanding of ministry, and the prevailing ecclesiology. The reform by the Second Vatican Council brought about a fundamental change in the understanding of liturgy, and the Mariendom was redesigned in 2016 as a result. Following the model of the Church as communion, the new design allocates space for the assembled congregation and for ministries and services; a new central section in a tri-polar arrangement has also been created in the transept. The original interior design was retained, but with new possibilities carved out for the Liturgy of the Hours and the celebration of the sacraments, as well as for the many varied forms of liturgy.
Schlagworte:
Ewald Volgger
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“[...] Linz cathedral will serve as a monument to its founders for many centuries [...]”: Bishop Franz Joseph Rudigier and the Cathedral of the Immaculate Conception in Linz
In 1855 the Bishop of Linz, Franz Joseph Rudigier, took the dogma of the Immaculate Conception as an opportunity to start work on a colossal cathedral construction project. Buoyed by devoted believers and the political and social context of the nineteenth century, as well as by the determination of the man behind the project, a monument to the centuries was created in the form of Linz’s Mariendom. Taking a look behind the scenes of the building itself, this article uncovers the historical context in which the Cathedral of the Immaculate Conception was developed. It also shines a light on the role of the cathedral’s founder, Franz Joseph Rudigier.
Schlagworte:
Nina Kogler
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Marianische Möglichkeitsräume. Der Mariendom und seine Frauen
One hundred years after its completion in 1924, the Mariendom is being remembered once again. As a virgin and a mother, the cathedral’s namesake Mary was stylised into a model figure and served as an example for women, who witnessed the construction of this cathedral but have received scant attention to date. Mary remains a key figure in the Christian faith to this day. Her almost unparalleled image is used as a projection for adhering to a social order based on a binary construction of gender; but at the same time, she serves as an inspirational figure that touches upon the symbolic order of established power relations. It is down to each generation to renegotiate what Mary tells us and shows us about society and women today. A contemporary art project zeros in on the images of women in the Mariendom, opening up a Marian realm of possibility in the process; as a space for critical aesthetic discussion, the project addresses topical questions of gender equality in art, the Church and society.
Schlagworte:
Martina Resch
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Die Fensterausstattung des Linzer Mariendoms. Auf den Spuren vergangener Zerstörung und Wiederherstellung
Every era naturally leaves behind its “traces” on a work of art, whether through the natural process of ageing or as a result of unintentional destruction. In the case of the stained-glass windows of Linz’s Mariendom, of which there are more than seventy, the World War II era left behind severe damage in places, including the total loss of certain specimens. The windows in the clerestory were made in the Tiroler Glasmalerei, a stained glass and mosaic workshop in Innsbruck, at various points in time (1884/85, after 1910, 1964). The restoration work currently taking place makes it possible to take a close look at the older windows, and especially to study and document the interventions that were carried out after 1945. In combination with an analysis of contemporary source material obtained from Linz’s diocesan archives, the article traces the history of the destruction and restoration of this glazing in great detail, also laying the all-important foundation for all reconstruction-related questions that arise in the course of the restoration project.
Schlagworte:
Christina Wais-Wolf
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„Ganz schön bist du, Maria, und kein Makel ist an dir.“ Restauratorische Aspekte zur Ausstattung des Kapellenkranzes des Linzer Mariendoms
Not only is the apse chapel of Linz’s Mariendom one of the cathedral’s architectural highlights, but it is also a meticulously designed synthesis of the arts with its decorative liturgical features on the altars and mosaic blind windows. A comprehensive study of the nine high altars and eight mosaics was carried out as part of a restoration survey conducted in 2022. The objective, in addition to examining the historical holdings, was to identify any damage and assess the overall condition. A concept for the historically appropriate preservation of the structure was developed in consultation with the Bishop Rudigier Foundation and the Austrian Federal Monuments Office (Bundesdenkmalamt) based on the findings, and this was followed by the exemplary restoration of a chapel. Going beyond a purely restorationbased perspective and taking into account materials, surfaces and methods, this article hazards a look at the décor of the apse chapel to create a greater awareness of this cohesive, complex ensemble and to underline its significance within the history of art.
Schlagworte:
Susanne Beseler
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„[…] der Kunst und dem Style gewissenhaft Rechnung getragen […]“. Liturgische Objekte des Linzer Mariendoms
In parallel to the construction of the neogothic Mariendom in Linz, a wave of equipment consisting of liturgical utensils and sacred textiles began to form. Like the architecture itself, these items are closely based on models from the Middle Ages. Their designs were by and large penned by the master builders – most notably Vinzenz Statz. The result is a uniformity of style and iconography that comes close to the idea of the total work of art. The objects produced in 1878 to mark the 25th episcopal anniversary of the cathedral’s founder, Bishop Franz Joseph Rudigier, are the crowning glory in the cathedral’s treasure chest. They were commissioned to contractors throughout Austria and in Germany. Funding was mainly provided by donations and foundations. In terms of liturgical equipment, Gothic purism only began to give way to a greater variety of styles in the twentieth century.
Schlagworte:
Judith Wimmer
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Literaturverzeichnis
Seite 90 - 95
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English Abstracts
Seite 96 - 98
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Verzeichnis der Autorinnen und Autoren
Seite 99 - 99
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Abbildungsnachweis
Seite 100 - 100
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Ausgabe:
978-3-7001-9650-1, E-Journal, digital, 18.04.2024
Ausgabe:
978-3-7001-9645-7, Zeitschriftenausgabe, broschiert, 18.04.2024
Auflage:
1. Auflage
Seitenzahl:
98 Seiten
Format:
29,7x21cm
Abbildungen:
zahlr. Farbabbildungen
Sprache:
Deutsch
DOI (Link zur Online Edition):

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