Die Stillende Jungfrau in der äntiopischen Buchmalerei des 15. Jahrhunderts : Bemerkungen zu Stil, Medium, Gegenwärtigkeit und (Un)Mittelbarkeit

While painted wooden icons of the Nursing Virgin were relatively common in fifteenth-century Ethiopia, only one miniature of the motif of the time has come to light. This image, bound into a later manuscript of the Miracles of Mary, is painted in a decidedly abstract style, comparable to other representations of the Virgin in fifteenth-century Ethiopian book illustration. Relying on Peirce's distinction between index and icon, this article considers how such abstract representations might have been meant to evoke the divine presence of Mary as a spiritual trace of the artist's and the audience's devotional practices, rather than as a potentially miracle-working depiction of her corporeal presence based on figural likeness, as was the case with painted wooden panels. Incorporating references to Ethiopian and Western theorists of modernity, the essay further proposes to view the multiple and interlocking mirror effects in book art as instances of second-order observation, in which, for example, the Virgin sees herself depicted in a book of her miracles, the compilation of which she commissioned and aided; the scribe and artist is featured in one of the miracles he himself is writing and illustrating; and the donor is depicted gazing at the viewer. Whether enabling skeptical distance or a more fully immersive spiritual experience undisturbed by attempts to capture corporeal likeness, or both, this essay proposes to analyze the politics and theology of abstraction in fifteenth-century Ethiopian book art by centering on a rare depiction of the Nursing Virgin.