@inbook{af9c13ecd8a6463b89ed69e959cd1ae7,
title = "Szenth{\'a}roms{\'a}g-{\'a}br{\'a}zol{\'a}sok a k{\"o}z{\'e}pkori Magyarosz{\'a}gon",
abstract = "This study is the first attempt after decades to collect and systematise critically all the representations of the Holy Trinity from the territory of medieval Hungary. The Holy Trinity is one of the most important but most complicated dogmas of Christianity. Therefore it was necessary to make it more understandable with the help of the visual arts. On the other hand, it was almost impossible to find satisfactory iconography; the medieval history of the iconography of the Holy Trinity is a series of unsuccessful attempts. The main types emphasise either the unity or the trinity (e.g. three identical figures at L{\H o}cse/Levoca). In other cases monsters were created (e.g. a tricephalus at Zsegre/Zehra). The most popular late medieval representation of the Holy Trinity was the Gnadenstuhl in Hungary as well as in other regions of Europe. The representation of God the Father, the Son, and the Dove of the Holy Spirit is usually incorporated in a larger scene (e.g. Coronation of the Virgin). Most of the medieval iconographical types disappeared in the subsequent centuries (some of them were abandoned by the popes of the 17th-18th centuries), however, they inspired popular religion for a long time.",
author = "Szak{\'a}cs, {B{\'e}la Zsolt}",
year = "2003",
language = "Hungarian",
isbn = "9639484768",
series = "Szegedi vall{\'a}si n{\'e}prajzi k{\"o}nyvt{\'a}r",
publisher = "Paulus Hungarus",
pages = "13--36",
editor = "G{\'a}bor Barna",
booktitle = "„Oh, boldogs{\'a}gos H{\'a}roms{\'a}g”",
}