Evaluation of Greek Orthodox and Western Christian Images - Essay Example

Evaluation of Greek Orthodox and Western Christian Images Religion in Art has the quality of the sacred within it. Thatquality is common to most forms of religious representations and while there are striking similarities, there are also many unique cultural differences between Greek Orthodox and Western Christian Imagery. This paper will concentrate on three such images: the aspe and choir at San Vitale, the Deesis Mosaic of Christ flanked by the Virgin Mary and St. John the Baptist and Christ enthroned, the apsidal mosaic in the basilica of Saint Paul’s. Each of these is representational of their religious affiliation as well as their historic and cultural context in which they were created. There is also a sense of humility when faced with these works. The creation of these images itself is somehow representational of the many facets of the art and of the religious tradition it represents. While certainly lacking in depth of field and light/shadow, the images represent in this sense a divine use of an Inner Light, a creativity in the weaving of the image that can be achieved in no other art form. One author refers to this Inner Light as, “The vibrancy of effect produced by decidedly broken color creates a definite esthetic stimulant which in the right surroundings, quickens religious emotion” (Anthony 37). The juxtaposition of varying pieces of glass and fragments of tile create a quality that the mind sees almost as moving and alive, something that seems to touch the soul and heart as well as the eye. This resonance lends itself well to the feeling of spiritual and religious passions. The figures represented are perceived as symbolic icons, which already produces an immediate religious invocation only to be enhanced further by mosaic’s shapes and often brilliant colors. The first mosaic under discussion is found in the Basilica of San Vitale located in Raveena, Italy. The church was consecrated in 547AD and the Archbishop Masimian Justinian commissioned many of the works of art there. Construction was begun by the Archbishop Ecclesius and completed by Justinian who had probably visited Constantinople and returned with artisans from there to work on the mosaics. Ravenna during the fifth and the sixth centuries was essentially the true capital of Italy and was certainly the center for the burgeoning artistic catalysts of the Christian world. (Anthony 87) In two famous scenes the Emperor and Empress stand with their retinues in strictly frontal attitudes, exacting the adoration due to gods. This is an imperial theocracy in every way assimilable to the Christian theocracy. Though every head is flawlessly rendered, the rhythmic sequence precludes the individualization of the figures, while the dazzling splendor of the colors is such as to plunge the scene into an atmosphere of unreality. (Venturi, Maiuri, Battisti, and Maiuri 100) There is also more of a sense of portraiture displayed here that is more familiar in modern renderings. The eastern Byzantine influences are obvious in the lush amounts of gold used in the artwork. Another unusual feature of the time and one that is almost overwhelming here is a sense of verticalism. The choir is actually the only portion of the church adorned with mosaics. In the apse, there is a figure of Christ is seated on a blue globe. His right hand is offering a crown to San Vitale, and in His left He holds the Book of the Seven Seals. On either of Him are angels all adorned in white. (Anthony 95) Our next work is the Deesis Mosaic of Christ flanked by the Virgin Mary and Saint John the Baptist. This mosaic located in the Hagia Sophia (Divine wisdom) church, now a museum in the Turkish Republic and is dated to approximately 1261. “A petition (deesis) is the likeness of mind toward God through supplication, embracing help or (embracing) the search for good things.” (Harmless, and Fitzgerald 498) In this case the mosaic represent the petitioning by the Virgin Mary and John the Baptist to Christ for the salvation of all mankind and is one of the preeminent depictions during this period. (Anthony 171) Again we have the golden background, but here more sedate so that the cruciform of Christ’s Halo shines with the polish gold gilt. This may also represent the coming of judgement day although the classic throne is absent (it is however present in the next work addressed). Even though this work is more subdued the visceral and vibrant quality of the mosaic still captures the eye and the feeling of motion seems to some in wave as the work is viewed. The classic Byzantine blue is present but there is a lack of adornments in this particular work. Here the architecture play a major role and the entrance of sunlight is an important element to the scene: The windows transmitted light through panes of colored glass. Against such a background, the effects of the constantly shifting shafts of illumination must have elevated worshipers to a state of spiritual exaltation in which they felt themselves truly to be in the presence of the divine. (Stokstad 57) The next mosaic is the depiction of Christ enthroned in the Basilica of Saint Paul’s located just outside the walls of Rome. A devastating fire occurred here in 1823 and although the building has been reconstructed to its original details many of the Early Christian decorations are lost. However this mosaic was painstakingly restored to it original grandeur. (Stokstad 41) This mosaic dates from around the 13th-century and though not the typical deesis as in the previous work it still seems that Christ’s apostles, Peter, Paul, Andrew and Luke, two on each side are appealing to Christ seated on the throne. Here the typical iconography of the throne is obvious and while there is usually nothing vindictive represented it is clear that this symbolizes the rites at the Last Judgment. Here the apostles are petitioning with lists in hand for those who are worthy of salvation. (Lowrie 104) In this representation the gilded gold of the Byzantine influence is gone and a return to more of a sense of realism is involved. While there is a shining cloud of sun above, representational of God, the background for the other figures is more of a sandy earth tone. However, this makes the figures in the mosaic more ebullient and vital. All of the facial features are highly detailed and the folds in the robes are meticulously represented. While the four apostle’s eyes all face the figure of Christ Enthroned, His eyes stare directly and disarmingly at the viewer of the work. Here the variation of the mosaic pieces gives way to a more realistic portrait and characterization than in the previous works. Still, the undulating imperfections between the individual tiles certainly still effect the feeling of a living entity beneath the stone and create a presence that is spiritually inspiring. All of these works are characterized by a need to highlight the inner meaning of a figures or objects represented. Outer beauty is often a secondary characteristic if it is considered at all. As in much religious representation this art is aimed at imparting significance and spirit, it is often not meant to please the eye but the soul. This can quite often be powerful and enlightening. (Rice, Byzantine 33) If the purpose of art is to engage then the purpose of religious art is to impassion. All of these works seem to do that. In the Deesis of the Hagia Sophia we see a more somber yet glorious representations of religious iconography. The figures are certainly one-dimensional yet there is a vibrancy. In the apsidal mosaic in the basilica of Saint Paul’s we see a transitional work between the Greek and Western, many elements blend together in this piece. The finally the aspe and choir at San Vitale shows the trend towards more realistic portrayal and dimensional images. While retaining some of the influences such as the gold background, it looses the sense of iconography and stands on its own as portraiture. Works Cited Anthony, Edgar Waterman. A History of Mosaics. Boston: Porter Sargent, 1935. Harmless, William, and Raymond R. Fitzgerald. "The Sapphire Light of the Mind: The Skemmata of Evagrius Ponticus." Theological Studies 62.3 (2001): 498. Lowrie, Walter. Art in the Early Church. New York: Pantheon Books, 1947. Rice, D. Talbot. Byzantine Art. Oxford: Clarendon Press, 1935. Stokstad, Marilyn. Medieval Art. New York: Harper & Row, 1986. Venturi, Lionello, Bianca Maiuri, Eugenio Battisti, and Amedeo Maiuri. Painting in Italy: From the Origins to the Thirteenth Century. New York: Albert Skira, 1959. Read More