historyВЕСТНИК РГГУ. Серия «Литературоведение. Языкознание. Культурология»RSUH/RGGU Bulletin: “Literary Teory. Linguistics. Cultural Studies”, Series2073-6355RSUH10.28995/2686-7249-2020-5-10-38history-805Research ArticleВИЗУАЛЬНЫЕ ИССЛЕДОВАНИЯVISUAL STUDIESСтигма на лице: средневековые истоки «еврейского носа»Facial stigma. Medieval origins of the ‘Jewish nose’МайзульсМ. Р.MaizulsM. R.

Михаил Р. Майзульс

125993, Москва, Миусская пл., д. 6

Mikhail R. Maizuls

bld. 6, Miusskaya Sq., Moscow, 125993

maizuls@gmail.comРоссийский государственный гуманитарный университетРоссияRussian State University for the HumanitiesRussian Federation202012082020051038Copyright © Майзульс М.Р., 20202020Майзульс М.Р.Maizuls M.R.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://history.rsuh.ru/jour/article/view/805

На антисемитских карикатурах и плакатах Нового времени евреи обычно предстают с хищными крючковатыми носами. Эта черта превратилась в важнейшую стигму, визуальный маркер физической, а через нее – культурной, психологической или духовной инаковости. В поисках истоков подобных изображений историки обращаются к средневековой юдофобской иконографии и без труда находят там «портреты» Иуды Искариота, первосвященников или фарисеев с точно таким же профилем. Эта статья показывает, что в западной иконографии типаж, который историки часто называют «еврейским», на самом деле использовался при изображении и других иноверцев, а также еретиков. При этом самих иудеев представляли не только с крючковатым, но и с плоским вздернутым носом. Эта физиогномическая пара с XII в. вездесуща в западном искусстве. У обоих типов носов в средневековых физиогномических трактатах была самая негативная репутация. Медиевисты нередко используют крючковатый нос как маркер, позволяющий узнать на изображении иудеев или персонажей, которых с ними отождествляли. Однако во многих случаях это ведет к ошибкам, поскольку крючковатый нос скорее был одним из универсальных знаков инаковости и злодейства, чем специфически юдофобским знаком.

In the modern anti-Semitic caricature, Jews are usually presented with predator-like long hooked noses. This trait has become a recognizable stigma, a visual marker of the physical, cultural, psychological or spiritual otherness. Looking for the origins of such images, historians turn to the medieval anti-Semitic iconography and easily find “portraits” of Judas Iscariot, high priests or Pharisees with exactly the same profile. This article shows that in the Western Medieval iconography, the type that historians often call “Jewish”, was also used in portraying the adherents of different faiths as well as heretics. At the same time, the Jews themselves were represented not only with a hooked, but also with a flat upturned nose. That physiognomic pair from the 12th century has been ubiquitous in Western art. Both types of noses in the medieval physiognomy treatises had the most negative reputation. Medievalists often use a hooked nose as a marker that allows them to recognize Jews or characters identified with them in the image. However, in many cases that leads to errors, because the hooked nose was more likely one of the universal signs of the otherness and villainy than a specifically anti-Semitic sign.

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The authors declare that there are no conflicts of interest present.