Art and Ritual Life
The Sacred Interior
Sculptural and Painted Expressions of Belief
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.
![10.20](https://learn.saylor.org/pluginfile.php/5605102/mod_book/chapter/49225/10.20.png)
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.
![10.21](https://learn.saylor.org/pluginfile.php/5605102/mod_book/chapter/49225/10.21.png)
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.