ARTH101: Art Appreciation

In devotional centers where philosophical or religious beliefs allow the use of figural imagery, cult statues and other images of deities or persons associated with the ideology are important focal points for worshippers. Some, like the cross, are essential statements; others play subsidiary roles designed for amplifying or enhancing the spiritual experience and providing additional opportunities for contemplation or stimulus of devotional response.

As we have noted, Buddhist and Hindu temple complexes often have a great array of portrayals of deities and/or spiritual leaders, as befits polytheistic religions. Part of the complaint of the Protestant revolt was that Christian churches had become too similar in spirit to polytheistic cults, with the wide selection of saints comprising a system that seemed no longer sufficiently focused on the central singular God. Part of the effect, in artistic terms, was that the decoration of many Protestant churches changed character as well as liturgical focus eliminating many of the lavish accouterments that had accrued around Catholic ritual.

While few general rules exist for Christian decoration, Catholic churches usually have a large and prominent crucifix above the main altar where the Mass/Eucharist, the primary religious ritual for Catholics, is celebrated; Protestant sites are more likely to have a plainer cross or none at all and are unlikely to have an altar. Throughout the ages, the character of the crucifix has seen tremendous variation, from an expression of the extreme suffering of Christ to a much more iconic expression of the belief behind the symbol. Between the time of Christianity's legitimization in 313 CE and the tenth century, for example, representations of Christ on the cross generally showed him as alive, having gloriously defied death. Crosses also varied considerably in scale.

The Gero Crucifix (c. 965-970), now placed over a side altar in Cologne Cathedral, Germany, compared to others of its era, was very large at six feet, two inches, and was considered to be provocative in eliciting contemplation of the suffering of Christ. (Figure 10.28) Over the next several centuries, depictions of Christ on the cross in northern Europe would increasingly emphasize the agony of the human being in the throes of death, as opposed to his everlasting triumph, in ever more graphic portrayals of the event central to Catholic worship and to the liturgy of Mass. (Figure 10.29) The range of emotional content in Christian imagery is vast and ever-changing. This diversity is a typical characteristic for objects related to devotional use, as the nature of active faith is to grow and change, ever producing fresh new expressions.

The variety of liturgical equipment conceived for Christian rituals over the centuries provided a great outlet for inventiveness. While some versions of ritual objects were simple and utilitarian in design, others clearly spurred flights of great fancy and flair. An important symbolic and functional object in all worship centers is the candlestick, and a tremendous variety was created.

One of the most elaborate was the enormous seven-branched candelabra cast of gem-studded bronze and covered with a mass of imagery of saints, plants, animals, and angels, with the whole immense and tangled array supported on four large dragon-form feet. The complexity of the iconography, as well as the intricacy of the work, is befuddling. Candleholders were not simply basic pieces of equipment but also carriers of implications for the spiritual quest and the nature of religious inspiration, at least in part based on the symbolism of light as a representation of the Holy Spirit, purity, and peace.

Service objects for the altar table also received a great deal of attention, respect, and their fair share of artistic ingenuity. The chalice of Doña Urraca, from Spain, exemplifies spolia, the re-use of precious objects and materials from the past. (Figure 10.30) As daughter and sister to kings, Doña Urraca oversaw monasteries and made provisions for their liturgies with lavish equipment. Made up of two antique onyx vessels for the base and cup, the chalice was fashioned with gem-studded bands and inscribed as a gift from Doña Urraca to the palace chapel in Léon, Spain.

An ivory situla, or small bucket, is another liturgical object used for sprinkling holy water in blessing at the Mass and other rituals, accomplished by dipping a sprinkler or a spray of leaves or straw into the vessel and flicking the water across the crowd. (Figure 10.31) This example is finely carved out of ivory with scenes from the life of Christ and supplied with bands and inlay of gilt copper. Additional liturgical equipment includes vestments; these often have received great attention, as well. (Figure 10.32) This 14th-century example from England is of velvet embroidered with silk, metal thread, and seed pearls that ornament scenes from the life of the Virgin Mary.

Special attention was also paid to books of Scriptures, as well as those that were used for the Mass and other ceremonies. In the Middle Ages, the pages of books had to be created as manuscripts on parchment or vellum, as we have observed be- fore; they were frequently supplied with lavish and showy covers, particularly those that might be used by important people or for important occasions. The commissioning of such was another deep and significant expression of faith due to the sacred writings they contained, the value of all liturgical equipment, and the merit accrued by donating riches for spiritual purposes.

The front and back covers of the Lindau Book Gospels were created at two different times and places with somewhat different design ideas. It was created by the Limbourg Brothers (Herman, Paul, and Johan, active 1402-1416, Netherlands) for John, Duke of Berry, a French prince. Throughout its heavily illustrated pages or leaves, it is brightly colored, carefully inscribed, and replete with depictions of the Duke and of his many architectural and land holdings. It is well known for its calendar pages that depict activities associated with the changing seasons of the year, such as this scene of January showing the Duke seated in resplendent blue to the right at a sumptuous feast. (Figure 10.34)

A significant visual spiritual event is the ritual creation of a sand mandala, often performed for a specific occasion by a group of Tibetan Buddhist monks. However, other spiritual and cultural groups create related works. (Figure 10.35) Systematically building a complex mandala involves a carefully planned and meticulously executed approach with specific pictorial implications. Basically a diagram of the Buddhist conception of the universe, mandalas might vary in expression of particular beliefs, teachings, or purposes.

The process can take several weeks; on its completion, it is destroyed and ritually discarded, perhaps in a fire or a lake, to symbolize the fleeting nature of the material world. An impressive and colorful spectacle to witness, it is accompanied by additional sensual stimulation from the sounds of chanting and the scraping of the colors for the design, as well as the fragrance of flowers and incense.