St. Marien Collegiate Church (Obernkirchen)
The Evangelical Lutheran collegiate church of St. Marien is next to the Roman Catholic church of St. Josef one of the two church buildings in the core city of the Lower Saxon town of Obernkirchen .
History and construction
The Augustinerinnenstift was founded in 1167 by Bishop Werner von Minden in place of an older monastery . From the 12th century collegiate church, the mighty Romanesque west bar with the double point still stands today . The nave is a three-aisled Gothic hall from the second half of the 14th century.
In 1559, the Reformation was introduced into the county of Schaumburg by a decree by Count Otto IV . The nuns of the Obernkirchen monastery opposed this. However, they had to submit to the count's violence. In 1565 the monastery was converted into an evangelical noble fräuleinstift, which still exists today as Obernkirchen Abbey .
altar
Emergence
The Passion Altar, consecrated in 1496, shows a Golgotha scene as a large central image . On a Latin document (no longer preserved in the original) about the consecration and a. The following reports:
“In the year 1496 - on the day of the bishop and confessor Augustine (August 28) - the present Bishop of Misenum , Auxiliary Bishop of Mr. Heinrich von Minden, became the present one by our Father and Mr. John, by the grace of God and the Apostolic See Altar consecrated to the glory of Almighty God and the Blessed Virgin Mary, main patroness through the support of divine grace, and to the glory of the Blessed Apostle Peter and Bishop Augustine. "
The latest research on art history (including Prof. R. Suckale) makes it probable that the winged altar carved from linden wood and gilded with its predella made of Obernkirchen sandstone after 1516 - d. H. after the inauguration of the provost Johannes von Busse - was erected here. It probably comes from a Hamburg workshop that also worked with carvers and painters on the St. Mary's altar on the monastery speech. It was cleaned and refreshed in color in 1995.
Image program
The pictorial program shows this altar - remarkable in a Marienkirche - as an outspoken Christ and crucifixion altar. The saints are only "marginal figures" here. They appear as small figures between the total of 13 compartments and as figures on the left and right above the compartments. Except for the central part, the crucifixion, Mary is only shown on the back of the left wing. There she is shown with the baby Jesus and Joseph. On the back of the right wing, St. Anne , the mother of Mary, appears with three men. Incidentally, the focus is entirely on the passion of Jesus Christ.
The individual subjects show the following scenes:
- The middle picture shows the crucifixion with the thieves, the group of women, the centurion and various spectators. The Latin signature reads: crufixus est pro nobis - "he was crucified for us".
- On the top left you can see from left to right:
- Jesus in the garden of Gethsemane with the inscription: orat patre - "he prays to the father"
- the flagellation of Jesus with the inscription: flagellature - "he is scourged"
- the presentation of Jesus to the crowd by Pilate; Inscription: ecce homo - "see, man"
- On the left bottom from left to right:
- the crowning of thorns; Inscription: spinis coronatur - "he is crowned with thorns"
- the condemnation of Jesus; Inscription: condemnatur - "he is condemned"
- Jesus is led to the crucifixion; Inscription: ducit ad mortem - "one leads him to death"
- On the top right you can see from left to right:
- Removal from the cross; Inscription: de cruce deponit - "he is taken from the cross"
- the burial of Jesus; Inscription: sepultus est - "he was buried"
- Jesus ascends into the world of the dead; Inscription: "vadit ad inferna" - he has descended into the kingdom of death ( Apostolic Creed )
- On the right side below from left to right:
- the resurrection of Jesus; Inscription: resurrexit - "he is risen"
- the meeting of Jesus with Mary Magdalene; Inscription: noli me tangere - "do not touch me" (John 20, 17)
- Jesus and the disciples in Emmaus; without inscription
In total, the altar shows more than 200 figures. Above the panels appear on the left: an unknown saint and John the Baptist (recognizable by the lamb) and on the right: John the Disciple (with the chalice) and the martyr Laurentius (with the grate). The wings were originally only opened on public holidays and show the picture of Mary on the left and the picture of her mother Anna on the right.
interpretation
The crucifixion altar is a testimony to the influence of the so-called devotio moderna , a piety that originated in the Netherlands in the late Middle Ages and re-emphasized the importance of Jesus Christ and his passion “for us”. In this respect, it paved the way for the Reformation. This began in Obernkirchen in 1559 with the evangelical sermon of Matthias Wesche and was officially sealed in 1565 with the Schaumburg church order. The focus here is the way of Jesus from the lonely hour in the garden of Gethsemane to the Easter meal of the risen Christ with the two disciples in Emmaus.
The carver has made the whole range of human behavior visible on the altar: disbelief like faith, arrogance like humility, fear and fatigue, the malicious joy in brutal violence and the sadness that comes from love and therefore shows pain publicly; the loneliness of the individual and the swarming of a crowd, the power of Pilate , which is seemingly unlimited and yet submits to popular opinion, and the impotence of the prisoner who ultimately remains the victor. Evil is present (e.g. in the devil forms behind bars and in the world of the dead), but it is not demonized. The suffering is depicted realistically, but not painted with relish as on other altars. Death as the dark secret at the end of life is made visible, but it is eclipsed by the light of life that emanates from the resurrection of Jesus. So this altar also stimulates the contemporary viewer to reflect on the meaning of their life and the faith in Jesus. It is the place where the congregation gathers for his Lord's Supper, “laborious and laden” but “wonderfully comforted”.
Tribbe epitaph
One of the very few examples of mannerism in northern Germany can be found on one of the northern columns . The epitaph of the sculptor and mayor Georg Tribbe , made by himself in his Obernkirchen workshop, is a decorative masterpiece of the so-called “auricle or cartilage style ”, a further development of the scrollwork popular in the Renaissance . The frame is worked black marble of filigree Alabaster - auricle work coated - a real Formengeriesel dramatically curved volutes that grow on the ends of their internal screw plastically into space. The art guide Dehio calls this special form of the auricle style "the last and most irrepressible baroque ornament system" . The theme of the epitaph built in 1665, the year of his death, is the " Memento mori ". In the selection of the virtues shown and the attached Bible verses, Tribbe expresses his belief in the graceful effect of Christ's sacrificial death and his associated hope in the resurrection. The epitaph is filled with an abundance of expressive angel heads and angelic figures, which, in addition to their decorative function, primarily represent the proclamation of the message of salvation. A putto with a skull and a lowered torch crowns the structure. One of the putti on the entablature holds a coat of arms on which the master's mark of the sculptor can be seen.
Furnishing
The organ was built in 1959 by the organ builder Emil Hammer Orgelbau. The slider chests -instrument has 35 registers on three manuals and pedal . The playing and stop actions are mechanical.
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- Coupling : II / I, III / I, I / P, II / P, II / P
literature
- Dieter Brosius: The Obernkirchen Abbey: 1167–1565, Grimme, Bückeburg 1972. - VII, 224 S.: Ill., Kt. - (Schaumburger Studies, 30)
- Matthias Seeliger (arrangement): Book of accounts of the Obernkirchen Abbey: 1475–1479, Bösendahl, Rinteln 1987. - XVI, 275 p. (Schaumburger Studien, 47), ISBN 3 87085 115 5
- Rolf Krumsiek: Obernkirchen. Chronicle of an old town, Verlag Stadt Obernkirchen; ISBN 978-3-9800549-0-4
- Ernst Andreas Friedrich : The collegiate church of Obernkirchen , pp. 119–121, in: If stones could talk . Volume IV, Landbuch-Verlag, Hannover 1998, ISBN 3-7842-0558-5
- Robert Suckale and Gude Suckale-Redlefsen: Obernkirchen Abbey in the Schaumburg district . Photos by Andreas Lechtape . Koenigstein i. Ts. 2001 (= The Blue Books), ISBN 3-7845-1080-9
Individual evidence
- ↑ Werner Führer: Schaumburg-Lippe . In: Theologische Realenzyklopädie (TRE), Vol. 30, pp. 80–83, here p. 81.
- ↑ Information on the organ
Web links
Coordinates: 52 ° 16 ′ 11.5 ″ N , 9 ° 7 ′ 39.2 ″ E