John Of Damascus

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.

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

Let’s define what is an icon and give a brief history of icons. An icon is sacred art, usually a fresco or mosaic of Jesus Christ, the Virgin Mary, martyred Saints or scenes from the bible that are given special veneration. This type of sacred art first appeared in the catacombs were the first Christians would gather to worship during periods of persecution. The scenes depicted were of Christ’s family, gospel stories or stories from the Hebrew scriptures. As Christianity began to grow, and after the Edict of Milan the Emperor Constantine decreed that Christians were no longer to be persecuted. In response to this new decree, by the fourth century icons became a way of teaching the Gospel and a way to

For example images of Saints and the lives they lived give us something to aspire towards almost acting as a manual of how we can live a fulfilled life in participation with God.Saint John also argues that the commandment given to Moses that worship of idols and graven images is forbidden ( Exodus 20:3-4) is not applicable anymore as we are living in a new era ushered in by Christ who supports images and to show this he gives ( Matthew 22:17) as evidence.

The style and iconography of the sarcophagus reflects the transformed status of Christianity. Before the time of Constantine, the picture of Christ was never used directly by important members of the Roman Emperor. In this sarcophagus, Christ represented directly and delivered from Roman Imperial Art perspective. Peter

The three treatises by Damascus, are aimed “against those who rejected the use of icons.” Damascus argues that “the theological fact of the incarnation of Christ provides a solid formation for the use of icons in devotion.” Damascus explains many different physical items, such as icons, in worship and adoration. An example of one of the physical items he used as icons is, “Was not the triply blessed wood of the cross matter.”

life” (Visual Arts Cork). The Roman Catholics were criticized for having false images of the bible in their artworks and worshipping idols as if they were holy. This decreased the amount of paintings of idol figures from the Protestants Luther stated that anything that one imagines of God apart from Christ is only useless thinking and vain idolatry. “You are not to have no other Gods” (Exodus 20:3).

Here he’s represented peacefully seated covered in a red robe and his head surrounded with the mandatory golden halo and golden light beaming out of him in the four directions of the world. The light blue background creates a sensation of heavenly ascending and lightness. If you are expecting to see the elaborate paintings and mosaics covering the walls and ceilings of the typical Byzantine-style church, you will be surprised to see that this cathedral is very simplistic compared to the temples in Eastern Europe. Here important biblical scenes are covering walls under arcs from top to bottom. Large scale frescos tell us stories about the birth of Jesus, the last supper, his crucifixion, his resurrection and ascending. The canon is very strict as of what scenes should be depicted and where should they be located. By rule the icons should be stylized, with little details, and the faces should not represent real human faces. This way the worshipers won’t feel like they are praying to a person they know or have seen. Similar rules apply for the space in the icon. There is no perspective or linear gradation which creates a sense of other reality. Styles may change through the centuries but these fundamental rules have never changed since the 8th

During the Middle Ages, symbolism was a big part of the current day art because of the major focus on the church and theology. Jesus and Mary were big symbols during that time, which is evident in the numerous paintings of them from the Middle Ages (Class Notes). During the Middle Ages, Jesus, Mary, Angels, the devil and the cross were huge symbols. In the painting Duccio, Jesus

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

Sacred religious imagery was justified in the context of this invocation of the Virgin and the saints. Veneration was not idolatrous because it was referred to the prototype represented in the image.

The book The Clash of Gods: A Reinterpretation of Early Christian Art reevaluates fundamental pieces of Late Antiquity art, facing off with what author Thomas F. Mathews dubs the “Emperor Mystique,” an inclination to link images of Christ in this period to imperial iconography. In the first chapter, author Thomas Mathews makes a lofty claim: Late Antiquity art blanketed under the Emperor Mystique must be reassessed since art historians have tawdrily abused the theory to oversimplify Jesus’ iconographic identity. The author structures his chapter one argument into three points. First, he criticizes the idea of an unbroken art narrative consisting of a gradual flow from pagan art to Christian art, resulting in the Emperor Mystique mix of imagery as a key transition point. Then, he considers the Emperor Mystique’s prevalence in Late Antiquity. Finally, he moves on to the art historians chiefly responsible for the theory—Ernst Kantorowicz, Andreas

As a society we have struggled with the concept of religious images and saints, posing the question if it is a form of worship or something suspicious. As a part of our weekly reading we reviewed an article by Michael Orr where he shared his views pertaining to illumination in medieval manuscripts. In his article, Orr points out the way images worked in several British manuscripts, as a sequel or postlude. After reading Orr’s article and taking into account everything that we have learned pertaining to medieval religious devotion, The Book of Hours, and medieval manuscripts here are my takeaways. In By examining the images used for Christianity in the books of hours, Michael Orr argues the belief or opinion that the owner of the books linked

John the Baptist is also allowed to stand near the holy mother and child, and an angel is present. Because of this, the viewer contends with a literal story rather than a simple image as in “Madonna Enthroned”. Also in Puligo’s image, where the central figures are larger and better seen, there are religious symbols used. The same might be true in Giotto’s work but the details are harder to distinguish.

Let's take a look at a little history in medieval art. There was a movement towards the end of the first millennium called Iconoclasm. This factor hated images and icons which were believed to be endowed with mysterious powers that could work miracles by intervention from the saints. This Iconoclastic Controversy defined and declined the creation of