Bornkinnel

from Wikipedia, the free encyclopedia
Bornkinnel on the altar of the St. Johanniskirche in Scheibenberg

The Bornkinnel , also called Bornkinnl , Bornkind (e) l or Bornkennl , is a standing Christ Child figure from the Ore Mountains and the neighboring areas. The carved altar figures mostly date from the 16th and 17th centuries.

In addition, the term in the Western Ore Mountains, Vogtland and Northern Bavaria also describes the Christ Child, Christmas , Christmas presents, a bread in the shape of a child and a doll with lights and a white dress. Art historians refer to the naming of depictions of Mary with the child in her arms as Bornkinnel as "false Bornkinnel".

history

Infant Jesus of Prague , model of the Bornkinnel
1930s: The Bornkinnel in the Erzgebirge craftsmanship

The setting up of the Bornkinnel figures goes back to the Catholic Christmas service, the Mette . The focus was mostly on a nativity scene to make the events of the night clear to the worshipers. The baby Jesus was usually shown wrapped in diapers lying in the manger ( Fatschenkind ). Since the Metten were held in their mother tongue, a special form of worshiping the figures developed, as the distance to the "divine" was reduced. From the 15th century these figures were mostly exhibited on the altar. At the same time, standing figures of the Child Jesus with blessing hands and orbs appeared. These figures included the Bambino in the Church of Santa Maria in Aracoeli in Rome, the Infant Jesus of Prague and many similar figures in Italian churches. The veneration of the child Jesus in the sphere of influence of the Habsburgs was promoted by the Jesuits . The oldest Bornkinnel figures were found in Saxony in Kamenz (late 15th century) and Zwickau (around 1520). Also in Hof in 1608 a more than 100 year old baby Jesus was mentioned, which was carried with him when he was walking .

The Bornkinnel only experienced their further spread with the introduction of Protestantism in Saxony. Encouraged by Martin Luther , the Santa Claus gifts were moved to Christmas and the gifts were brought by the Christ Child or the Holy Christ. In contrast to other ecclesiastical customs, the baby Jesus and Christmas mass, which had been in use up to now, were continued. The Catholic customs of Bohemia, especially the Christmas games and nativity scenes , also had an impact on neighboring countries. In Saxony, especially in the border regions of the Ore Mountains and the Vogtland, further Jesus figures were made from the early baroque onwards and these were incorporated into the worship service. This is how most of the figures still preserved today were created between 1620 and 1680. Many Bornkinnel can be found along the trade route over the Preßnitzer Pass . Mining carving and traveling puppet theater were also widespread in this area . Christmas games were also performed in this area until the middle of the 19th century.

The ecclesiastical Bornkinnel customs came to an end in the 18th century under the influence of the Enlightenment. In addition to the ban on Christmas cribs, parades and walks in the towns, the Bornkinnel figures, regarded as "pre-reformattic", were banned from the churches.

Since the Christ Child was now considered to be a Christmas gift, the Bornkinnel was adopted into private Christmas tradition after the Church Bornkinnel worship ended. So dolls were made for domestic use, and later on, the depiction was mixed with that of the Christmas angel . But also certain customs such as children disguised as Bornkinnel, who brought the presents, arose or were continued.

etymology

The earliest written evidence for the designation of the figure can be found in the 18th century. For example, “ 1 Bohrn Kindel, dressed in red damask ” is mentioned in an inventory of the Bockau parish office . The origin of the term is assumed in the area of ​​the Zwickauer Mulde, one of the main areas of distribution of the figure.

There are different views on the origin of the term. A descent from the Middle and Low German “Born” for wells, as well as from the Old High German “barn” (child), can be largely excluded.

Since the mid-1990s, the view has prevailed that the term is derived from "newborn". For example, in a church account from Zwickau from 1567/68 “the newe born child” and in a Schneeberger caste account from 1594 “ the born child ” is mentioned. The addition “(new) born child (el)” is often used in later names of the figure.

A derivation from the Middle High German "barn" (crib, riot) has long been considered correct. Here, however, a contradiction to the representation as a boy without reference to a crib is seen. The description of the figure in the 16th century as a “newly born child” also makes a later change in meaning appear paradoxical. This thesis is supported by the fact that in many cases the written language deviated from the spoken dialect. So "Jesuskindlein", "Christkindlein" or "bore child" was written.

iconography

Bornkinnel on the altar of St. Anne's Church in Annaberg-Buchholz

The Bornkinnel is a naked standing boy figure. The figure usually wears a white long dress, but can be fully dressed. The right hand is shown in the gesture of blessing or oath, while the left hand holds the globe. The boy wears golden hair and usually a halo . A crown or scepter is less common than the hand of blessing. The Bornkinnel is set up on a pedestal that is used for transport and better visibility on the altar.

The focus of the traditional Metten celebrations in the Erzgebirge was the prophecies about the birth of Christ from the prophetic books of the Bible, Isaiah 9 and Jeremiah 23. These announcements of a child god influenced the design of the Bornkinnel. With the design of the Bornkinnel, youthfulness, strength, carefree and confidence were radiated. This representation of a childlike god has an unconscious depth psychological influence. Such a "divine child" is already represented in pre-Christian mythologies. Such figures are lovable and attractive to most people.

Original clothing can no longer be proven today. However, there are records from the 16th and 17th centuries that mention a white shirt and often a red coat.

The golden hair and the halo as ( nimbus ) were associated with the divinity of Jesus as the light of the world and his holiness. The color of the white shirt or dress corresponds to the special meaning of the figure. The same color choice is made for baptism or for the liturgical colors of the vestments and the antependia . The red of the cloak refers to the royal purple, but also reminds of the crucifixion of Christ.

The crown or a wreath that the Bornkinnel wear in some cases stand for the divine origin. The right to rule over the entire universe is expressed with the potato. The raised right hand can be interpreted as a wise helping hand or transferred as an oath or blessing hand as a symbol of truth and reliability.

In some places the figures were adorned with rosary- like chains.

Locations

Spread of the Bornkinnel

The Bornkinnel can be found mainly in the area of ​​the Western Ore Mountains. The main distribution area extends along a line from Zwickau to Jöhstadt. This largely corresponds to the course of an old trade route over the Erzgebirge ridge. Several of the figures can also be found in the area of ​​the principalities of Reuss .

Today 77 Bornkinnel are recorded at 67 locations, 27 of which are no longer available.

literature

Web links

Individual evidence

  1. ^ Anton Günther (folk poet) : O selicha Christmas time , 2nd stanza.
  2. ↑ Song text by Anton Günther (folk poet) : O selicha Christmas time
  3. ↑ The Bornkinnel from a symbolic and iconographic point of view in: 500 Years Bornkinnel: Sacred Art from the Ore Mountains and the Vogtland, p. 25.
  4. ^ Andreas Raithel: The Bornkinnel custom in the Erzgebirge and Vogtland p. 388.
  5. ↑ Frank Reinhold: On the origin of the word Bornkindel in: 500 years Bornkinnel: sacred art from the Ore Mountains and the Vogtland, p. 11.
  6. ^ Andreas Raithel: The Bornkinnel custom in the Erzgebirge and Vogtland p. 388.
  7. ↑ The Bornkinnel from a symbolic and iconographic point of view in: 500 Years of Bornkinnel: Sacred Art from the Ore Mountains and the Vogtland, p. 27.
  8. ↑ The Bornkinnel from a symbolic and iconographic point of view in: 500 Years Bornkinnel: Sacred Art from the Ore Mountains and the Vogtland, p. 29.
  9. ↑ In "500 Years Bornkinnel: Sacred Art from the Ore Mountains and the Vogtland" 76 Bornkinnel are listed. The figure from Kamenz was not included.