In this paper, the Slovene adaptation of the one of the most important Marian antiphons, Salve Regina, i. e. Češčena bodi, Be Thou Adored, from the Stična Manuscript (NUK, Ms 141, fol. 247v), is discussed from an art historical perspective. Despite characteristic asceticism or focusing on the word and excluding the picture during meditation, the religious image is gradually accepted by Cistercians, for in between word and picture there is a functional connection instead of a dividing line. Even though the discussed text is not illustrated, it has a visual dimension, because it refers to Mary's body, connected to the issue of the image of the invisible God. As with the incarnation, the Word becomes visible to redirect the eyes of sinners to heaven, so the discussed prayer, whose language is figurative, is complemented by the representation of Mary and baby Jesus, which stirs religious feeling in worshippers. The figurative language of the prayer that surpasses the literal meaning or links to the other reality raises the prayer to the spiritual realm, and during this movement inwards and to God the representation of Mary is internalized, i. e. not left behind, but rather transferred, for as with the Assumption, Mary remains visible.
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