|
Religion in Artistic Expression |
In this chapter, the author explores how religious
experience has been communicated in the visual arts. You should know the
following terms, people and concepts:
| Icons |
Iconoclasm |
| iconostasis |
catacombs |
| Apollo |
Constantine |
| Edict of Milan |
mosaic |
| fresco |
Ravenna |
|
| |
|
Icons: In the Orthodox church, visual
representations of religious experience have become very much identified
with the spiritual truth they represent. As the text says,
"the art is not just an external display; rather it involves both
internalization and participation on the part of the viewer." As a
result, the icon itself is venerated (not worshiped!) because of what it
represents. Keep in mind the following points:
- Icons are honored and venerated because of what they represent
- Icons are not meant to be realistic; rather they are meant to be
symbolic representations of spiritual truths
- Icons are an important way of teaching spiritual truths
- Iconoclasm is the belief that all visual representations
of the sacred should be banned.
- Most Orthodox churches include an iconostasis - a wall of icons
- in their sanctuaries
Images of Jesus as Christ in the Early Church
The text book considers three images of Jesus in order to demonstrate
the various ways that the Church understood Jesus. Generally, we can say
that there was an evolution in the way that Jesus was depicted. The
earliest image is that of "The Good Shepherd." Here Christ is
portrayed as a youth wearing a Roman Tunic, carrying a lamb and a bucket
of water. The symbolism is obvious: Jesus is the one who cares for
the church and is the giver of life (water represents life, the Spirit,
and/or Christian baptism). Note that this image comes from the
Catacombs in Rome. Catacombs were underground burial places
and may have been the site of early Christian worship. Especially
important is the fact that this image comes from a time when
Christianity was illegal and sometimes persecuted. Obviously, the Church
found comfort in the image of a caring, life-giving shepherd.
We noted in class, that the image of the "good shepherd" was actually
quite ancient and well-known throughout the Roman empire. As early as
the sixth century BC, Apollo and Hermes were depicted in
sculpture as the good shepherd. Clearly, early Christianity was using
familiar symbols to express its religious experience.
|
The second image is that of Christ teaching
the disciples. Again this image is from the catacombs, but by this
time (around 350 A.D.) there has been an important change in the status
of Christianity. In 313, the Roman Emperor Constantine issued the
Edit of
Milan which "legalized" Christianity. Now the Church is
"respectable" and exercises some authority. Not surprisingly,
Jesus is now depicted as an older teacher wearing a Roman toga (the
dress of a respectable Roman citizen). Notice how a different
aspect of religious experience is emphasized as the times change!
|
| |
|
The final image in the text book is a mosaic of Christ
as the good shepherd. It is from Ravenna from around 425 A.D. By this
time, Christianity had become the state religion of the Roman Empire.
Externally, the Empire in Europe was increasingly threatened by
barbarians. Internally, the Church was involved in an ongoing debate
over the nature of Christ. The picture may reflect both the
internal and external situation facing the Church. The divine nature of
Christ is communicated by the fact that his head is surrounded by a
halo. The human nature is depicted by the fact that Christ is a
shepherd. Once again, care and love for the "flock" (the church) is
evident. Notice now, that Christ is not wearing the toga of a
Roman citizen; rather he is depicted wearing the royal (purple) robes of
a Roman emperor. Even the face of Christ is similar to depictions of
Constantine! Clearly, Christ is now portrayed as the "cosmic" emperor
who is fully divine, fully human. He is the bringer of order and
the protector of the Church. Once again, the religious experience
that is communicated is heavily influenced by the time, place and
audience.
|
| We also noted in class that the earliest images that
depict the crucifixion of Jesus do not appear until the late seventh
century. It is probable that a young persecuted church was reluctant to
dwell on the suffering and shame of the crucifixion. Only when
Christianity is firmly established does the Church return to contemplate
and express this aspect of its experience. |
|