ARTH101: Art Appreciation

Beyond the types of symbolic features and forms we have explored, there exists a tremendous variety of objects expressing common or personal beliefs and devotions. In many instances, they adorn temples, synagogues, and churches; at other times, they were designed to be used in private or family settings. Even the sects with the most austere attitudes about the use of art, such as the Shakers, have a design aesthetic that is related to the belief system of finding creative solutions in the functionality of the form. (Figure 10.20) Many artistic efforts have been applied to religious expression, often entailing that the most lavish and sumptuous goods should be provided for these purposes.

Sculptures, paintings, drawings, prints, film, video, performance art, and visual demonstrations have all been brought into service. They might vary as to whether they embody a point of doctrine or a shared tenet, express a personal veneration for a deity or holy personage, or offer a viewpoint about exuberance or restraint; regardless, they have abounded. Often, they also epitomize the sentiment of a cultural moment in a particular place or the development of a particular line of thought in theology, philosophy, or devotional practice.

An example is the elegant and graceful Bodhisattva Guanyin, a spiritual figure of compassion and mercy, created in China in the eleventh or twelfth centuries during the Liao Dynasty (907-1125). (Figure 10.21)

The sculpture acts as a compassionate guide for the Buddhist devotee who would look to such an elevated being for loving guidance on the spiritual journey. The ideas of patron saints or dedicated intercessors like the Virgin Mary were popular in the West, as well, especially during the Middle Ages, an era when great riches were often lavished on images of veneration for these spiritually accomplished models of sanctity. The graceful Virgin of Jeanne d'Evreux was a gift in the early twelfth century from the French queen to the Abbey of Saint-Denis, the site for royal burial at the time. (see Figure 10.22) The young mother, playfully engaged with her divine infant son, was rendered with striking and inspiring emotional effect.

In Christian churches of the Middle Ages, and for some denominations today, the sculptural embellishment of the interior not only showed the respect of believers but also provided considerable food for devotional thought, often in the form of Bible stories, tales of the saints, and theological ruminations. Such was the case at the French Romanesque Vézelay Abbey (1096-1150). (Figure 10.23) The tympanum above the portal contains a relief sculpture by Gislebertus depicting the Last Judgment, with Christ sitting in the center. (Figures 10.24 and 10.25)

The capitals on the piers in the interior have lively depictions of Old Testament tales such as Jacob and the Angel and other scenes such as the Conversion of St. Eustace, a Roman general who, while hunting, saw a vision of a crucifix between a stag's antlers and adopted Christianity. (Figures 10.26 and 10.27) These are all told through delightful, puppet-like Romanesque figural forms. Visual stories such as these were meant to reinforce the importance of remaining true to God despite challenges to their faith in this lifetime.