Essay on Art and the Bible

We are also shown how these different forms of art change over time and how different cultures have adopted them and used them as their own form of art to express emotion, love, creativity, and passion. This book teaches us how art is viewed in different ways by the church and was very informative for me to obtain a better and deeper understanding of art and how the churches valued it.

Art and the Bible, written by Francis A. Schaefer, is a short, simple to the point book regarding how a Christian should approach art. The book is divided into two sections. Section one is title Art in the Bible and section two is titled Some Perspectives on Art.

The quality and quantity of details in Adoration of the Mystic Lamb are embodied by van Eyck’s mastery of oil, which suggests that his altarpiece is the greatest representation of Christianity in a piece of art.

Christian art and iconography began, about two hundred years after the birth of Christ. Western Christian art and religious iconography was based on the classical art styles and imagery by the Ancient Romans. Medieval art iconography began to relate more to text of the Bible. Religious Christian art was created in the form of illuminated manuscripts, mosaics, and fresco paintings adorned churches. The colors of art were generally muted except those used in manuscripts and stained glass windows. Figures varied in sizes in relation their importance. Unlike artists in the Byzantine period who avoided making sculptures at all costs, Romanesque artists made sculptures which were often large, made of stone, and

George Orwell famously declared »all art is propaganda.« Great works of art, in other words, have a very particular message for an intended audience. This function of art transcends historical periods, as is evident if one takes a closer look at the art of specific eras, such as Ancient Egyptian art. Ancient Egyptian art possessed a very specific propaganda function: to promote the divine origins and authority of the Pharaoh and thus a hierarchical social system.

Art helps royalty and rulers spread their ideas and lets their people know the power of the leader, ruler, etc.

When it came to early Jewish art, Jewish law had forbidden the worship of idols, which was often a common subject when it came to art during this time period. However, artists continued to depict symbolic and narrative Jewish subjects, which they often drew from earlier traditions from the Near East and Classical Greek and Roman Art. After all, Jewish history was not something that had recently developed so the art involved could of been traced back to the Hebrews. In relation, the wall painting, Ark of the Covenant and Menorahs, held in a Jewish catacomb most likely derives from the ancient Near Eastern Tree of Life, which symbolizes the Jewish people at the end of exile and at the beginning of paradise.

At the council, 338 members met to rule on the use of images to depict religious figures and ideas. This assembly, including Emperor Constantine and Leo, rules that “the unlawful art of painting living creatures blasphemed the fundamental doctrine of our salvation—namely, the Incarnation of Christ, and contradicted the six holy synods” (Iconoclastic Council, 1). The Iconoclastic Council bans the use of images and pictures to depict religious ideologies and figures because they feared that worshippers honored the image over the actual person, place, or thing represented. To support their argument, the council recalls the Holy Book in which God states, “Thou shall not make thee any graven image, or any likeness of any thing that is in heaven above, or that is in the earth beneath…They changed the glory of the incorruptible God into an image made like to corruptible man,…and served the creature more than the Creator” (2). Unlike John, this council uses stronger textual evidence from the Holy Book in order to validate their argument against icons. Furthermore, they argued that “folly” painter constructed the icons to undermine the icons. Council members aimed to demonstrate the icons as evil creations because religious affiliates did not construct them. Nevertheless, the council banned all images, relics, and other representations of

The paintings of Michelangelo had figures that were nude and caused an uproar. The Bible states that Adam and Eve were naked until they knew sin, then they were ashamed. The nakedness of the bodies could have been a scene of a time before sin. It helped to open the minds of some of the church members. To show them that the Bible should be the authority to which they live by and not the church. Michelangelo's painting went against what the church wanted, however it still stayed within the realm of the Bible. By doing this, it showed how the church would try to overstep its boundaries, while trying to place itself above the Bible.

Macdonald, (2010) suggested that the bible is a cultural work of art because it is used in storytelling, preaching, drama and visual posters. The bible tells God’s story in how he created the world, the fall, redemption and the new creation. The bible has a sequence of events, songs, proverbs, prophetic books, writing of wisdom and letters. In the bible there is a comparison between connecting scripture and constructing culture. It is able to change one’s life and one’s culture because

Just as it’s human nature to believe in something larger or more powerful than oneself, it is also human nature to express that divinity through art, this is proven time and time again in human history. Picturing the divine is a type of testimony to show a cultures greatness. The painting Arhats Giving Alms to Beggars comes from the Chinese culture of the Southern Song period. Whereas, the mosaic Christ as Pantocrator comes from the Byzantine culture of the Greek Orthodox tradition. Although these paintings come from very different backgrounds both cultures show the divine and their pressure on mankind to follow the rules, such as giving away worldly desires. By doing so and letting go of material possessions, mankind can be hopeful of

blood figures of Classical art, for Christian artists did not care to extend our empirical world, but

Art in the Medieval Times was dreary and bland. Many works of art were solely about God or holy figures. The most obvious change from the Renaissance to Medieval Times was the arts, according to Document A and also that “One begins to know the names of the artists ... feel stronger emotions in the subjects”. This shows that Renaissance art not only changed in style, in changed in how it made the viewer feel when seeing the art. Similarly, in Document A, Renaissance art is described as “new artistic styles would echo the broader movements and interests of the new age.…”. As compared to Medieval Times, the style of art became something similar to the time that people could relate to. In the Medieval Times, art was just meant to extol God’s many feats. People who viewed the painting were supposed to put that style of art on a pedestal. Medieval art was supposed to be worshipped, not so much understood. The individual in the Medieval Times was supposed to take away from the painting that the only thing that mattered in their life was the Roman Catholic church and God already had a plan for their lives. But in comparison, Renaissance art was supposed to empower and help people of the time to understand themselves and the fact that they can change their own lives.

Sontag says that throughout history, things focused on in art and history tend to be the "product of wrath, divine or human." There is much art showing the

The history of art dates back to ancient times. Artwork can be, and was, found around the world. What makes art interesting is that it can be created in any way, shape or form with any materials. It seems that the artwork can also tell us a lot about the artist. Art seems to be simply, a direct, visual reflection of the artist’s life. Therefore, one can assume that an artist’s life experiences and beliefs directly influence their art. If we look at examples from different periods of art we will be able to see the connection between the artist and the art.