THE ICONOGRAPHY OF THE GRAPE MOTIFS IN THE CATHEDRAL OF NOTRE-DAME DE PARIS

Abstract

This article analyses symbolism of the grape and grapevine in the iconography of Notre Dame Cathedral. The purpose of the study. The purpose of this article is to identify ways of representing grapes in architectural decoration and to clarify their role in the formation of sacred space. Methods. The research methodology is based on a combination of general scientific and special art history methods, the basis is formal analysis, the iconographic-iconological methodology of Erwin Panofsky, which allows us to reveal the content and symbolic load of artistic images, the synthesis method allows to identify connections between images in the spatial theological system of the cathedral, and methods of systematization and generalization. Results. The study covers three objects, namely: the bas-reliefs of the portal, the rose window of the western façade, and the high reliefs of the choir screen. All three levels of decoration demonstrate the repetition of seasonal motifs, in particular the pruning and crushing of grapes, which are accompanied by corresponding zodiac signs and are included in a broader cosmological model of time. Observations show that the grapevine functions not only as a decorative element, but also as a visual marker of the Eucharistic idea and the sacred transformation of matter. It has been traced that the grape motif is organically integrated into various areas of the temple and interacts with the architectural structure, reinforcing the theological content of the sculptural programme. The analysis shows that the repetition of grape motifs in stone and glass forms a single semantic field, within which the themes of labour, sacrifice and salvation are combined. Conclusions. In each case, the grape symbol acts as a carrier of deep theological semantics associated with the Eucharist, sacrifice, the sacred dimension of time and labour. The juxtaposition of images in stone and glass allows us to interpret the space of the cathedral as a vertical axis of salvation and as a coherent visual theology. Further research should focus on studying similar iconographic solutions in other Gothic cathedrals in France and clarifying the role of plant ornamentation in shaping the sacred topography of the cathedral.