Gothic

Chartres Cathedral 

Royal Portal (west facade)

France 1145-1155 

Chartres Cathedral

The Charte Cathedral is unique in that one tower and side is Romanesque while the other is Gothic. The Early Gothic west facade was all that remained of Chartres Cathedral after the fire of 1194. The distinct contrast and difference makes this a unique holy space. 

The sculptures of the Royal Portal proclaim the majesty and power of Christ. The 3 doors are united with images from Christ's life. The tympana depict, from left to right, Christ's Ascension, the Second Coming, and Jesus in the lap of the Virgin Mary. 

Mary's prominence in the Chartres facade has no parallel in the decoration of Romanesque church portals. At Chartres the designers gave her a central role in the sculpture, a positioned she maintained as the Mother of Divinity through out the Gothic period. The cult of Virgin Mary reached a high point in the Gothic Age. As the mother of Christ, she stood compassionately between the Last Judge and the horrors of Hell, interceding for all her faithful. With focus on Christ, his divine deity as the Son of God was exemplified. Chartres is just one of the many architectural wonders that represent the worship to Almighty God.  

Royal Portal (west facade)

Romanesque

Baptism of Christ

Baptismal font from Notre Dame-des-Fonts 

Rainer Huy 

1118 

The sculptor, Rainer of Huy was a bronze worker from Meuse River Valley in Belgium and was renowned for his metalwork.  

The bronze basin rests on the foreparts of a dozen oxen. Where this stemmed from was King Solomon's Temple that is referred to in 1 Kings 7:23-25 "molten sea... on twelve oxen". It is interesting because the medieval scholars equated the oxen with the 12 apostles. From revelation given in these latter days the 12 oxen actually represent all the 12 tribes of Israel (joining of people as God's offspring). 

The Old Testament story of King Solomon's Temple prefigured Christ's baptism which is the central scene on the Romanesque font. This work revived the classical style along with the classical spirit. The figures are softly rounded, with idealized bodies and faces and heavy clinging drapery. 

I like how this particular romanesque piece has Christ seated in majesty in the center, with his apostles round about him. He sends them forth on their missions to convert the heath and lost, heal the sick, and cast out the devils from bodily possession. The divinity of Christ in this baptismal scene shows him, the son of God, cleansing himself with the emersion of water though he be sinless to set the way for all mortal human beings on earth to receive exaltation. 

Early Medieval

Hildesheim Doors

Genesis Left Door, Life of Christ Right Door

Saint Michael's (Germany)

1015 

Bishop Bernwood, a great art patron built the St. Michael's Church- it being a Ottonian Masterpiece with two apse, two transepts, and multiple towers. After a visit to Rome the wooden doors he saw that had episodes of the Old and New Testament inspired him to commission the bronze doors for his new church in Germany. 

This glorious doors are more than 16 feet tall. Bernward placed the bronze doors (with 16 panels of magnificence) at the entrance to the Saint Michael's from the cloister, where the monks would see them each time they walked into the church. The left side of the door highlights the biblical book of Genesis- beginning with the creation of Eve and ending with the murder of Adam and Eve's son Abel by his brother Cain. The right door corresponds to the left recounting the life of Christ- starting with the annunciation and terminating with the appearance to Mary Magdelene of Christ after the Resurrection. 

Together the doors tell the story of the Original sin and the ultimate Redemption. The expulsion from the Garden of Eden and the path back to paradise through the Christian Church. Deity paralleled so well with the Old Testament account gives a glimpse to the viewer of the power that lies within Jesus Christ- and his capability to save all man from sin. 

Saint Michael's Hildesheim, Germany

Islamic

Canteen 

Episodes From the LIfe of Christ

Syria 1240-1250 

During the 11th, 12th, and 13th Centuries a lot of Christians traveled to Islamic countries, especially to the Christian holy land, in Jerusalem and Bethlehem. The Christians came as pilgrimages or as Crusaders. Many of them returned to their home lands with mementos of their journey, some wealthy individuals commissioned local Muslim artists to produce custom made pieces for them. 

This unique brass canteen decorated with scenes of the life of Christ appears to be the work of a 13th century metalsmith. The canteen is a luxurious version of the "pilgrim flasks" that Christian visitors to the Holy Land often brought back to Europe. On the flask their lie inscriptions written in Hebrew. They promise eternal glory, secure life, perfect posterity, and increasing good luck to the canteen's owner (all beautiful gifts that are allotted by the Holy God of Israel whom it depicts). 

In the center of the canteen is the Madonna and Christ child enthroned. The three panels on it depict New Testament events. The first being the scene of the nativity. The next being the presentation in the temple. Lastly the prophetic entry into Jerusalem by the Savior,Lord, and KIng. These special and specific scenes could have been chosen by the patron being places of visit while on the trip. Most scholars believe that the artist used Syrian Christian manuscripts as the course for the canteen's Christian iconography. Many of the details are paralleled to the Islamic metalwork inscribed with names of Muslim patrons. The piece in its entirety shows the artistic interactions between the Christians and the Muslims in 13th Century Syria. 

The deity of this canteen is one so great that he who created the earth condescended down to this mortal state in saving the inhabitants of the world. He being the father of salvation, redemption, resurrection, and celestial glory. 

Byzantium

Hagia Sophia

Constantinople 

Istanbul, Turkey (532-537) 

The  most important monument of Early Byzantine art is the Hagia Sophia. Justinian intended the new church to rival all other churches ever built even to surpass in scale & magnificence the Temple of Solomon in Jerusalem. The structure was called the "Church of Holy Wisdom, in Constantinople". As a temple/church like structure built after the Temple of Solomon during a time when truth was lost, it's intentions were good, but it lacked the fullness.  

The soaring canopy-like dome of the Hagia Sophia with the streaming light coming in and shining out through the glass windowed layer makes the dome appear as the floating "dome of heaven." Light is the mystical element. Light that glitters in the mosaics, shines forth from the marble-clad walls and floors, and pervades and defines space that, in themselves seem to escape definition. Light seems to dissolve material substance and transform in into an abstract spiritual vision.

One of the most influential mystic philosophers of the age, Pseudo-Dionysius said, "Light comes from the Good and... light is the visual image of God." 

Visitors to Hagia Sophia from Justinian's time to today have been struck by the light within the church and its effects on the human spirit. As all sacred spaces the feelings intended to be felt in them cause a reflection upon deity- in some instances or holy spaces, that of eternal deity.  

Transfiguration of Jesus
Apse Mosaic, Church of the Virgin
Mount Sinai, Egypt 
548-565

The best part about the Byzantine period is that Christ is vividly represented, bringing true deity into the spectrum of art. 
Justinian rebuilt the monastery at Mount Sinai between 548 and 565 and erected imposing walls around it. The site had been an important place of pilgrimage to many. The Mount Sinai church was dedicated to the Virgin Mary, whom the Orthodox Church had officially recognized in the mid-fifth century putting to rest the controversy about the divine nature of Christ. 


The church's apse mosaic depicts the transfiguration. Jesus appears in a deep-blue almond shaped mandorla (aureole of light). At his feet are John, Peter, and James. At the left and right are Elijah and Moses. The artist stressed the intense whiteness of Jesus' transfigured, spiritualized form, from which rays stream down on the disciples. This mosaic effectively contrast the eternal of heavenly beings with the distraught responses of earthbound. 


Christ being the deity that was transfigured back into his rightful heir and throne in Heaven is the perfect depiction from Byzantine art. 

Late Antiquity

Christ As the Good Shepherd

Mosaic from the entrance wall of the Mausoleum of Galla in Italy

425 A.D. 

During the third and fourth centuries, a rapidly growing number of Romans rejected the pagan polytheism (belief in many gods) in favor of monotheism (the worship of a single all-powerful God). Jewish and Christian art of Late Antiquity are Roman in style and technique, but they differ in subject of religious art and architecture. Art of the Late Antiquites had subjects from both the Old and New Testament. 

Christians believed that Jesus of Nazareth is the son of God, the Messiah (Savior, Christ) of the Jews prophesied in the Old Testament. His life- his miraculous birth from the womb of a virgin mother, his preaching and miracle working, his execution by the Romans and subesquent ascent to Heaven- has been the subject of countless artworks from Roman times through the present day. The primary literary sources for these representations stem from the Four Gospels of the New Testament, written by the "Four Evangelists", Saint Matthew, Mark, Luke, and John. 

The mosaic that I absolutely loved the most was Christ as the Good Shepherd. This mosaic is the subject of the lunette right on the entrance wall of the Mausoleum of Galla. Jesus sits among his flock, haloed and robed in gold and purple. Instead of carrying a lamb on his shoulders, he sits among the flock with watchful eyes of care, worry, and love. The subjects within the mosaic occupy a carefully described landscape that extends from foreground to background beneath a blue sky. All the forms have a three-dimensional bulk and are still deeply rooted in the classical tradition. By the third century (about when this was made) artists had invented a new kind of mosaic that permitted designs more closely approximate to paintings. 

Finally I have come into alignment with the choice of deity for a selected time period. There is none higher than God the Father that resides in Heaven whom fathered and organized my spirit with a Heavenly Mother and his Glorious Son Jesus Christ the father of my soul, salvation, redemption, resurrection, and judgement. Jesus Christ continues to act as a shepherd for his people as we find it within ourselves to succor to him and his teachings, ways, and principles. Late Antiquity was the usher of great Christian Art, and how wonderful that this focus was restored on earth for the progression of Christianity. 

Prehistoric Aegean

Snake Goddess 

From Palace at Knossos

1600 B.C.E. (Greece)

 

In the Prehistoric Aegean period, temples or large monumental structures of Gods were not built, in contrast to the Mesopotamia and Egyptian times. What remains of the Prehistoric Aegean deity are rather small sculptures. 

The Snake Goddess is one of the few finds at the palace of Knossos (Crete) in Greece. It is a striking work of art made out of low-fired opaque glasslike silicate (faience). This piece of art shows the dominant Minoan features of naturalism and grace. The front portion of the figure is similar to Egyptian and Near Eastern statuary, but the costume (with its open bodice and flounced skirt) is distinctly Minoan. 

At first scholars thought this figurine to be one that represents a mortal attendant rather than one of deity. However, the exposed breasts suggests that this figurine stand in a long line of fertility images usually considered divinities. A conclusion was made that if the statuette represents a goddess, then it is yet another example of how human beings fashion their gods in their own image.   

The Knossos Goddess holds snakes in her hands and also supports a leopard-like feline on her head. This implied power over the animal world, also appropriate for a deity. As one of the Minoan divinities, she was closely associated with the snake cult. She is also called the Household Goddess due to her attribute of the snake, which is connected with welfare of the Minoan house. The snake is also a symbol of the underworld deity, so the Snake Goddess is related to chthonic aspects as well. I don't like the idea of a goddess standing for two oppositions, so as far as I'm concerned she was had nothing to do with the underworld, that was just a  misconception among the "fallen" people. 

Roman

 East Facade of the Ara Pacis 

Female Personification

Rome, Italy 13-9 BCE 

Panel from the East (Back) Facade of the Altar

The Ara Pacis Augustae, translated to mean "Altar of Augustan Peace" was commissioned by the Roman senate to be build in honor the established peace in the empire that came from Caesar Augustus's victories. The altar was meant to be a vision to civil Roman religion, envisioned as a Roman Goddess. 

Augustus was an advocate of the family life, and ultimate growth in his empire and kingdom. Children and the divine role of the family unit was brought into view a little more with Caesar Augustus's reign in the Roman Period. 

The Goddess in the paneled marble is Tellus/Italia, she being the goddess equivalent to "Mother Earth". Pax, the goddess of Peace, Ceres (goddess of grain), and even Venus have also been suggested to be the woman in the facade. Tellus/Italia is the popular choice from art historians and has the most identifiable symbols and surroundings. The seated Matron has two babes in her lap (Romulus & Remus- twins) epitomizing the fruits of the Pax Augusta. All around her the beautiful earth is in bloom, a setting so ideal and heavenly. On her left the fowls of the air are represented, on the right the animals of the sea, and near her feat the beasts of the earth- all different animal species living peacefully side by side. With the three Roman elements of Earth, Sky, and Water present it was to show her established peace over the whole world. 

The rear panel of a Roman altar dedicated to the divinity of this Goddess of Femininity said a lot about the culture of the Romans, it being very different from the usual male figures. The white marble softens the scene adding to the curvature of the lines. The drapery gives personifications of a refreshing breeze upon their bodies. The Roman detail of hair  and classical ideal beauty comes out within Tellus and the babes themselves. How wonderful it is to see such art work that establishes motherhood and procreation as a godly attainment. 

Ara Pacis Augustae
(Altar of Augustan Peace)

Ancient Greece

Peplos Kore

Acropolis (Athens, Greece)

530 BCE 

Unlike the Egyptian and Mesopotamia deities, the Greek gods and goddesses differed from human beings only in that they were immortal. It has been said that Greeks made their Gods into humans and their humans into Gods. Interesting how they found a relating connection between the two. I liked how they thought one could transcend into the other. 

After reading about this statue, I was drawn more to it. The sixth century BCE sculpture renders a soft female form that is much more natural than the other masculine, defined sculptures of men during the same time period. 

The woman of whom the statue was made was formally known as Peplos Kore. Recently scholars thought that she wore a "peplos"- simple, long, woolen belted garment. After careful examination of the statue, it was realized that she wears four different garments, one of which only goddesses wore. I liked the connection the Greek people made to sacred garments and their Gods, it's interesting to think if the garments had certain symbolism for them. The missing left hand of the goddess would have identified her by the attribute she held. I kind of like the missing identification because then anyone could have fit into her position. 

If there was one Goddess that I'd assume this was it would be either Hera (Juno) or Aphrodite (Venus). Hera was the wife of Zeus, the almighty God whom may have administered the purpose of the garment. Hera was also known as the goddess of marriage. The other fitting Goddess, Aphrodite was the daughter to the almighty Zeus. She was the goddess of love and beauty, of which the garments would only add to. 

Egyptian

Great Pyramids, Gizah

Architectural Wonders Built for the Divine

2490-2472 BCE

 

The Egyptians had a much different view of Deity and the nature of God and his creation of earth than their neighbors near the Mediterranean/Eastern worlds. They envision that at the time of creation, God brought light into the world on a large mound. Later the mound was formalized into a pyramid structure and form. The pyramid stone, called the benben supported one of the Gods the Egyptians idolized; the God being the Supreme God- even the God of the Sun. The architectural structures of pyramids were constructed as a place for the transition to the afterlife and in ascension to the heavens.  The larger pyramids being the tombs, temples, and sanctuaries for the men and some had smaller ones near as a place of tomb, temple, and sanctuary for their wife/wives. 75 years was consumed in the building of the Great Pyramids in Gizah. They believed that the supreme God also created the first of the other Gods and Goddesses of Egypt. This particular God and creator also brought into the world the primary male and female forces in the universe. Talk about Deity- Egypt worshipped those on earth 

Hatshepsut

Woman Pharaoh of the 18th Dynasty

1492-1479 BCE

Among the Goddesses created by the Sun God, may have been Hatshepsut. Hatshepsut was a mortal woman that was made King on earth and then glorified by the people as a God in the afterlife. Her husband, the 4th Pharoah, passed away and she being the highly esteemed wife proclaimed herself Pharaoh. Hatshepsut is one of the first great female monarchs whose name has been recorded. For two decades of her rule it was said to be the most powerful and prosperous empire in the world. This head statue of Hatshepsut resides at the Luxor in Egypt. 

Ancient Near Eastern

Hummurabi and Shamash 

Susa, Iran 

1780 BCE 

The Near Eastern region gave birth to three of the world's greatest modern faiths- Judaism, Christianity, and Islam. The Sumerians and their successors in the ancient Near East worshipped numerous deities, mostly nature Gods. The Mesopotamian God depicted in this Babylonian stele was that of Shamash, the Sun God. Shamash, the Sun God, is depicted with flames radiating from his shoulders. The Sumerian idea that the Gods reside above the world of humans is central to most of the world's religions. This Babylonian stele is unique because it shows a man in the presence of a God.  

Hammurabi was the king of Babylon in the early 18th Century. He was Babylon's most powerful king that reestablished a centralized government and is widely known for his specific law code. The Sumerian rulers were esteemed as the gods' representatives on earth and the stewards of their earthly treasures. 

The Babylonian stele shows the direct relationship between King and God. The Sun God, Shamash, is extending to Hammurabi the symbols of his authority to govern and enact laws. The symbols were a ring and a rod, both derive from builder's tools- measuring rods and coiled rope- the ruler's capacity to build the social order and to measure people's lives, that is, to render judgements and enforce the laws spelled out on the stele. 
The focus on the unique relationship between Deity and Kingship of this time period is fascinating. What I like most about this tablet is the condescension of God down to man- it showing the sacred relationship between the two. I couldn't help but to relate Hummurabi to Moses, both given laws from God to give unto the people.