Ascetics and Their Visual Prayers

Visual and Physical Prayers

Tying knots, laying stones, painting letters and otherwise meditating

Sainte Chapelle, Paris, built in four years under the authority of Louis IX, in 1244. 118 x 56 x 139 ft

God the Geometer, Bible Moralisé of Blanche of Castile, 1220 ce, 10" x 13" Gothic 

The Ancient of Days setting a Compass to the Earth, 1794

All maps from Wikipedia

How are the art, architecture, and daily life of the monastery visible prayers? How were books made in medieval Europe? What was life like in the monastery? What works best illustrate your answers?

If you're interested in this material, here are some readings that can help you, because this material is not really in the book. Reading choices include Elizabeth Howie’s article on the Apotropaic properties of interlace decoration, the film The Name of the Rose, the Umberto Eco book on which it was based, the animated Secret of Kells. (neither of these films will give you facts, but the websites listed within this website will. .

  CCORDING to Legend, Saint Kevin's mother felt no pains during childbirth, and the snowfall that attended the birth of her son melted in a band around their home. That was in the year 498. God, it appeared, marked Kevin from the very moment of his birth. Legend tells us much about Kevin, though history records very little. From his early days, Kevin was surly with people and kind to animals, and the animals repaid his kindness throughout his life.

Saint Kevin and the blackbird, miniature of an Irish codex, ca. 9th or 10th cent., wikipedia

Once, Kevin went to the woods to pray and meditate for all of Lent. He stayed in a simple hut, so small that when he flung his arm up in prayer, it went out the window. There, a blackbird landed, mistook Kevin's hand for a nest, and laid an egg in it. Feeling the warm egg, Kevin stood very still for all of lent while the eggs hatched, and hatchlings fledged. Lucky for him, the blackbird fed him.

For many years, Kevin lived in what's known as St. Kevin's bed, a five foot by three foot by seven foot cave. Kevin refused the company of women, but this refusal meant nothing to one Kathleen, who followed him about and tried to seduce him in his rocky bed. Kevin pushed her out of the cave and into the lake, where she drowned.

St. Kevin's Bed. source

After many years living in this simple hermitage, Kevin felt that he should return to serve as a priest, teaching all that he had learned. He wished to establish a monastery, but the ruler, King O'Tool, being a pagan, refused to let him. However, King O'Tool's beloved goose grew old and sick. Despairing what to do, he asked Kevin to make the goose young again. Kevin agreed, in exchange for whatever land the goose flew over. Since the elderly goose could not fly, King O'Tool agreed.



Kevin healed the goose,and it took off and flew over all of Glendalough. Kevin gathered workers and begin the project immediately, asking his workers to begin with the first song of the lark, and to work until the sheep went to bed. They used the materials the land provided, stone, resulting in this simple wonder of dry-stack stone architecture.

St Kevin's Church, near the site of the original small stone cathedral. This building constructed beginning 12th century.

St Kevin's asceticism marks a culture of self-denial that I also see visibly recorded in many of the forms of medieval monastic art and architecture: in many of these forms I see the immersive practices of prayer that describe the life of this class.

St Kevin's life of asceticism was certainly not unique. You can instantly detect a visual similarity between his church and the monastery at Skellig Michael off the shore of county Derry, in Ireland.

Image Credit Flickr User Irish Fireside

Skellig Michael Stairs seen from above. source. 

You can see a good collection of images of Skellig Michael here.




About 12 monks and an abbot inhabited this monastery, approachable only by choppy seas, from about the 7th to 12th centuries. They chose a life of isolation, cold, and self-denial as a way to remove obstacles from their connection to God. They built their own dry stack beehive shaped stone huts, and grew what vegetables they could.

In mainland Europe, one of the major ways that monks brought income to the monastery was by making books, illuminated (that is, made brilliant with illustrations), and handwritten (therefore called manuscripts). (by the way. Before books, people wrote on clay, bark, and papyrus, often rolling their writing into scrolls. Romans invented books, which began to replace scrolls during the early days of Christianity, by about 300 ce, people produced books and scrolls in about the same numbers. By 600 ce, books basically replaced scrolls.)

Do any of the places seem familiar? 

source

An Illuminated Manuscript combines handwritten texts with images (painted in precious pigments and metals) that shed light on the meaning of the words and add pleasure, play, and value. The word manuscript combines Latin words manus (hand) and scriptus, (from verb to write). In Europe, monks typically made these books from the point of raising the sheep and goats that gave their skins to make the parchment, to the ruling and hand writing of the texts, to the illuminating with images, to sticking the leaves together, to the binding of the pages in covers made of wood, leather, or precious metals. If the making of these books interests you, you can find a thorough description of the process at the Getty Museum's website, and an interactive walkthrough of their manufacture at the Fitzwilliam Museum site.  

unknown artist, author portrait of Jean Miélot writing the Miracles of Our Lady, 15th century

Watching the film The Name of the Rose, starring Sean Connery and based on the book by Umberto Eco, offers a fun way to get to know the physical and some of the practical aspects of monastic life. This clip (dead link-- full film minute 26:40 exterior carvings; 31:10 entering the scriptorium)  gives some great images of the exterior of a Romanesque monastery built for the film, and some detail shots filmed at The Abbey Church at Souillac in Périgord, France.

 
"Compositionally, Eadfrith stacked wine-glass shapes horizontally and vertically against his intricate weave of knots. On closer inspection many of these knots reveal themselves as snake-like creatures curling in and around tubular forms, mouths clamping down on their bodies. Chameleon-like, their bodies change colors: sapphire blue here, verdigris green there, and sandy gold in between. The sanctity of the cross, outlined in red with arms outstretched and pressing against the page edges, stabilizes the background’s gyrating activity and turns the repetitive energy into a meditative force. " from Louisa Woodville, Khan Academy, here.

Carpet Page, Lindisfarne Gospels, Insular Manuscript, 715 ce, 13" x 9.5"(p.428) " The limitation of the page was a perfect foil to the infinity of Celtic patterns" (from catalogue entry by Elizabeth Howie, here.)

Elizabeth Howie also describes the magical powers associated with Insular Manuscripts visible in their design. She writes: "According to Bernard Meehan the Book of Durrow [similar to the Lindisfarne Gospels] is "the earliest surviving fully decorated insular Gospel manuscript," (Meehan, 9.) It is considered to represent a "new, essentially medieval concept of embellishing the sacred text as though with precious jewels and textiles." (Calkins, 31.) It is the first example of a full program of decoration which complements the structure of the text. (Calkins, 36.) Its date of origin is controversial but is believed to be the late 7^th century. Its origins have also been the subject of debate, with scholars arguing between Durrow and Northumbria as likely places of origin, with current scholarship leaning toward Durrow. Like the Codex Usserianus Primus and the Cathach of St. Columba, the Book of Durrow had its own shrine that was lost in the late 17^th century. In the 17^th century, the book was dipped into a trough for sick cattle to drink out of, as it was believed to possess curative powers."

"The Book of Durrow continues the use of diminuendo seen in earlier manuscripts. It also continues the use of interlace decoration. Interlace is thought to have an apotropaic function because of its perceived ability to trap evil." From this catalogue entry.

Chi Rho page of the Book of Kells, late 8th or early 9th c. Scotland. tempera on vellum. (10-4)
Greek Letters Chi Rho Ota (XPI or Chri) Now this is how the birth of Jesus Christ came about..." 

In the beginning was the Word, and the Word was with God, and the Word was God.... 14 And the Word was made flesh, and dwelt among us, (and we beheld his glory, the glory as of the only begotten of the Father,) full of grace and truth. John I, KJV. 

Lower Cover of the Lindau Gospels, Austria, 775 ce, 13.5 x 11",now in the Pierpoint Morgan Library, New York.

Crucifixion, cover of Lindau Gospels, 870-880 (10-11)

Sutton Hoo Hoard, Chi Rho Page from Book of Kells   Saint Faith (Foy) Reliquary Giselbertus, Last Judgement 

Author Portrait of John the Evangelist from the Book of Kells, Insular Style Manuscript from ~805 ce, colors on vellum

"typical" text page from Book of Kells, 805 ce

Quoting Giraldus de Barri, 12th c. author, Hugh Honour and John Fleming write: “Examine it carefully and you will penetrate to the very shrine of art. You will make out intricacies so delicate and subtle, so concise and compact, so full of knots and links, with colors so fresh and vivid, that you might think all this was the work of an angel, not a man.”

detail from Book of Kells, 805 ce

I see a strong relationship between this: 

and this: 

What relationships can you see? 

KEY WORK! Portrait of Matthew, Gospel Book of Ebbo, 10.5" x 8.8"Carolingian Style, ~830 ce. (10-10)

Mark

Caravaggio, Inspiration of Matthew, 1602

Key Terms: Manuscript, Scriptorium, reliquary, interlace 

Sutton Hoo Burial site

  Purse Cover, Sutton Hoo Burial, england, 615-625

 

Roman de la Rose,French, tempera on vellum, 1353 (641)

When I the age of 20 had attained –
The age when Love controls a young man’s heart –
As I was wont, one night I went to bed
And soundly slept. But there came a dream
Which much delighted me, it was so sweet

Bayeux Tapestry  (10-18), on half of the gallery, likely made in England, 1070's







20' Star wars tapestry

Saint Faith (Foy) Reliquary (10-18), 






talk about tedious. Here are a couple of Brian Dettmer's fantastic Book Autopsies, made in the last few years. Dettmer would have made a good monk, I believe.

Like the Sutton Hoo hoard has visual similarities to the more meditative objects, Machu Picchu looks today similar in some ways to the monastery at Skellig Michael, though the purposes are very different.  Most recent dating suggests that Macchu Picchu was occupied from around 1420 to 1530 AD, with construction taking place under two Inca rulers, Pachacutec Inca Yopanqui  (1438–1471) and Túpac Inca Yupanqui (1472–1493).

Extra materials


Insular Manuscripts from betsy towns on Vimeo.






Gothic Architecture from betsy towns on Vimeo.

Sailing to Byzantium II

Key Terms: icon, iconography, iconoclasm, Byzantine, mosaic,

Byzantine Art and Architecture

Berlinghiero, Madonna and Child, 1230

from the Web Gallery of Art, a definition of Byzantine art: The art of the Byzantine Empire, which had its capital in Constantinople (Byzantium), from the 5th century to the fall of Constantinople to the Turks in 1453. Based largely on Roman and Greek art, Byzantine art also absorbed a wide of influences, notable from Syria and Egypt. Byzantine art was essentially a spiritual and religious art, its forms highly stylized, hieratic and unchanging (central images were thought to derive from original portraits). It also served to glorify the emperor. Among its most distinctive products were icons, mosaics, manuscript illuminations, and work in precious metals. The strong influence of the Byzantine style on medieval Italian painting can be seen in the works of Cimabue, Duccio, and Giotto.

A different definition governs the use of byzantine in popular conversation. There, we use byzantine to mean complicated to the point of deceptive or at least confusing. That definition probably comes out of the Renaissance distaste for Byzantine art.

byzantine
a. Of, relating to, or characterized by intrigue; scheming or devious: "a fine hand for Byzantine deals and cozy arrangements" (New York).
b. Highly complicated; intricate and involved: a bill to simplify the byzantine tax structure.

Then, some terms important to understanding Byzantine Art.

Words associated with the Byzantine that you should know.
Icon:
a. An image; a representation.
b. A representation or picture of a sacred or sanctified Christian personage, traditionally used and venerated in the Eastern Church.

Iconography
a. Pictorial illustration of a subject.
b. The collected representations illustrating a subject.

Iconoclasm

1. the practice of destroying images, especially those created for religious veneration.

2. the practice of opposing cherished beliefs or traditional institutions as being founded on error or superstition.

3. the doctrines underlying these practices. — iconoclast, n. — iconoclastic, adj.

Orthodoxy the condition, quality, or practice of conforming, especially in religious belief.

Then, let's get even more confusing, for matters of taste prove fickle. By the late 19th century, the Byzantine Art had swung back into favor, not with all but with many. So much so that William Butler Yeats used the style to express Beauty, Permanence, Imagination, an Ideal of Art, Monument to unageing intellect in his poem "Sailing to Byzantium."

How does architecture achieve meaning? In the case of Byzantine, architects sought to use the church as a metaphor for the ideal christian, plain but perfectly ordered on the outside: 

The Mauseleum of Galla Placidia, in Ravenna, 425-450 CE, exemplifies the ideal of Byzantine architecture. Unassuming, yet perfectly detailed on the outside, and on the plan of a cross, and, on the inside: 

Ceiling of the Mausoleum of Galla Placidia, Ravenna
dazzling with jewels and gold as the christian soul is supposed to be.

\

San Vitale, Ravenna, Italy, 547 CE, Byzantine

Early Christian style, full of poetic secrecy and cryptic symbols, gave way to Byzantine art by about 400 ce. The artwork of the Eastern Roman Empire, generally called the Byzantine Empire because Emperor Constantine I relocated the capital city to Constantinople, on the site of the ancient city of Byzantium, now known as Istanbul, Turkey. 

For the Modern Irish Poet William Butler Yeats, Byzantine art stood for an ideal of perfection and permanence. Listen to Yeats reading his poem "Sailing to Byzantium" from 1928. In this segment you'll here the full poem read by the author followed by a second reading briefly annotated by images and commentary by me. 

Sailing to Byzantium
That is no country for old men. The young
In one another's arms, birds in the trees
- Those dying generations - at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect

Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;




And therefore I have sailed the seas and come
To the holy city of Byzantium.

Baptism of Christ Mosaic, Arian Monastery, Ravenna, 550 ceO sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Dome Mosaic, , Ravenna, 6th c

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

William Butler Yeats, 1928
here's a straightforward page for help with the poem, but make sure you draw your own conclusions, too.


Next, we'll look at the largest monument of Byzantine Architecture, the Hagia Sophia in Constantinople (another key work!). Constructed from 532-537 ce, the Hagia Sophia, or Church of Holy Wisdom, remained a Christian place of worship until 1453, when Turks re-consecrated it as an Islamic Mosque, which it remained until becoming a museum to its own history in 1935 which it remains today.

Hagia Sophia, 360 ce, Byzantine Cathedral, Istanbul, Turkey

interior of the Hagia Sophia, described in a long ekphrasis by Paul the Silentiary, thus: "The roof is compacted of gilded tesserae from which a glittering stream of golden rays pours abundantly and strikes men's eyes with irresistible force. It is as if one were gazing at the midday sun in spring, when he gilds each mountain top." 


Icons, Iconography, Iconoclasts.

Empress Theodora and her Attendants, Apse Mosaic, San Vitale, Ravenna, 550 ce. (399)

Russian orthodox church in Pennsylvania that Andy Warhol's family attended.

St Sava Serbian Eastern Orthodox Church NYC

In this segment, you'll see the keywork the Basilica-style church of San Vitale in Ravenna.For an expansion on this material, and introduction to the materials for next week, watch the following video.
As you look at the following segment, consider the differences you see in artistic styles from the Roman emphasis on colossal architecture to Christian emphasis on clear narration of specific stories. Make good notes, and pause the video several times to take time to describe some Early Christian artworks. After watching this video, you should know a bit about the emergence of art associated with early Christianity in the Roman Empire and the 'Ancient Near East' (that is, present day Turkey, Syria, and Iraq).

Early Christian Introduction from betsy towns on Vimeo.

Great resource on Early Christian Art here

More info on Byzantine art.

Stylistic Analysis and so many containers

 

Stylistic Analysis: we're taking a break from looking at art through the lenses history, geographically and chronologically; today we turn to STYLE and PURPOSE. 

Paraphrasing philosopher Berel Lang,  Style is not only not a science, it's a version of fiction – a narrative form ... in which one feature is an ingredient in all the others. In other words, to decisively name a style like "Old Kingdom Egyptian" or "Minoan", we'd have to see the feature we're identifying in all of the objects. Nonetheless, looking at stylistic attributes help us hone the tools of observation, finding connections and contrasts that can help build our capacities to see and ask questions. Here's the link to the exercise

Technique

• Was the object or image built up by adding material, or was it created by carving away material?
• What kind of paint or finish was added to the material?
• Does the technique seem methodical or spontaneous? How so?

Color

• What colors are present? How are the colors arranged?
• Do the colors appear saturated or muted?
• Are the colors warm or cool?
• Do the colors complement one another or does one clash with the others?
• 
  

Texture

• Does the material have a physical texture? How would you describe it? What creates the texture?
• Does the material simulate or imply texture in some way, even if on a flat surface? How so?

Line

• Are contour lines present?
• How would you describe the quality and direction of the lines (for example, heavy or thin, rough or smooth, short or long, horizontal, vertical, or diagonal)?
• How do lines create movement or a sense of direction?
• What are any figures depicted looking at or gesturing towards?

Shape

• Are the figures naturalistic or abstract?
• Are the forms geometric or organic?
• How do shapes repeat throughout the composition?
• For figures, are the proportions distorted, elongated, or idealized?
• What kinds of shapes are formed from the negative space?
• 
  

(Probably for another day, another analysis: Composition

• How are all the different components of the object or image arranged?
• What do you notice first, and why?
• How does the work lead you through the composition?
• Is the composition symmetrical or asymmetrical? If asymmetrical, is the composition balanced in some way?)

*Questions from UNC-Chapel Hill's writiing center

Counting Containers

I'm tying today's work to containers because I spent an awful lot of time in museums in the last 6 months, and I became overwhelmed by the sheer numbers of 2-3000 year old containers in museums. Why and How? 

Canopic Jars, Late Period New Kingdom Egypt, ~650 bce stone

From wikipedia-- regarding the jars with iconographic heads, particularly those with religious significance from the late period. 

"Following the Nineteenth Dynasty canopic jars stylistically were carved to represent the four sons of Horus. Each of Horus's sons, along with a companion goddess, were responsible for protecting a particular organ and represented a cardinal direction:^[15]

• Hapi: the baboon-headed god representing the North was protected by the goddess Nephthys and was assigned to the lungs;
• Duamutef: the jackal-headed god representing the East was protected by the goddess Neith and was assigned to the stomach;
• Imseti: the human-headed god representing the South was protected by the goddess Isis and was assigned to the liver;
• Qebehsenuef: the falcon-headed god representing the West was protected by the goddess Serket and was assigned to the intestines"







Canopic Jars, Ancient Egypt, ~600 bce

Amphorae in the tomb of Tutankhamun, ~1327

Wine Amphora, ~1500 BCE, Ancient Egypt

Vessels in the Etruscan Museum, Rome

Wine Amphora, Pompeii, 79 CE, Ancient Rome

      

Possibly made by Brygos, Greek Potter, Rhyton drinking cup in the shape of a dog's head, between 490-470 BC.

Villa Giulia, Etruscan Museum, Rome

Villa Giulia, 

Krater from Dipylon Cemetary, 730-735 bce, terra cotta, 43" tall

Ancestral Puebloan,  900-1150, North American Southwest, Mesa Verde Colorado: 

• Basketmaker III (500 - 750 CE)
• Pueblo I  (750 – 900 CE)
• Pueblo II  (900 – 1150 CE)
• CLASSIC PUEBLO PERIOD (1100 - 1300 CE)/Pueblo III
  

Animal Vase, terra cotta,  ~850-1150 CE, Ancestral Puebloan, 

Ancestral Puebloan, North American Southwest, Mesa Verde Colorado: 

• Basketmaker III (A.D. 500 - 750)
• Pueblo I  (A.D. 750 – 900)
• Pueblo II  (A.D. 900 – 1150)
• CLASSIC PUEBLO PERIOD (A.D. 1100 - 1300)/Pueblo III