The Pilgrims Eulogia of St. Symeon the Younger - Assignment Example

The Pilgrim’s Eulogia of St. Symeon the Younger By The Pilgrim’s Eulogia of St. Symeon the Younger It is very evident, from recorded counts of different pilgrimages, that art plays a very significant role in the life of Pilgrims.1 Different types of artworks played different roles. Almost all pilgrim art played the role of guiding the faith of the early Christian church.2 Like most religions, Christianity is centered on the belief of an existing spiritual realm that is connected with the physical world through different mediums. One such medium is divine artworks which dominated the places of worship of the Pilgrims.3 The Pilgrims believed in the capability of artworks to connect the spiritual realm to the physical world. For this and many other reasons, art and ornaments, for more sumptuous and less imposing reasons, dominated the pilgrim’s holy objects and places of worship.4 Tombs, columns, and grottoes were artistically decorated to give churches and monasteries their raison d’être.5 This document serves to approve or disapprove the hypothetical claim that Pilgrims used artworks to depict their lifestyles, to revere their spiritual superiors and connect them to the spiritual realm. This document critically analyzes the Pilgrim’s Eulogia or Token of the St. Symeon the Younger in the verge understanding the role, if any, of artworks to the lives of Pilgrims. Description of the Pilgrim’s Eulogia or Token of the St. Symeon the Younger This rounded eulogia with an estimated diameter of 2.5cm and thickness of 0.7cm has the Saint Symeon suspended on a centered column which is flanked by long candle sticks on either side.6 The Saint’s attire is a hooded cloak with an indistinct cross.7 Flying above the Saint on either side are angels carrying crowns.8 Each of the angels has the inscription “ATIOC” below them.9 On the right side of the base of the column on which the Saint is perched is the baptism of Christ.10 On the left side of the column’s base are Mary and Christ as a child.11 Analysis of the Eulogia Art in churches and shrines is on its grand scale in imposing and luxury is majorly in the Byzantine pilgrimage.12 However, art also had another equally important scale when it was used as a sign of modesty as Pilgrims requested for souvenirs to take home, in a similar manner to modern tourists. Most Pilgrims hoped to receive the silver of the True Cross even though only a few of them actually expected a gift of such magnitude.13 However, almost all Pilgrims were obligated to receive a eulogia or “blessing” instead. In the early church, this “blessing” was material in the form of a small quantity of common commodities such as oil, water, or earth.14 These commodities were sanctified by contact with either a holy person or a holy object. In some cases, the eulogia has images evoking the context of their use, or the circumstances of their origin. Even though the concept of “blessings,” evoked by the term “eulogia,” was thoroughly spiritual in the Old Testament, the early Christians applied the term to blessed objects such as eulogia bread.15 However, the Pilgrims held a special meaning for the word eulogia.16 In the Pilgrims’ context, eulogia was the blessing conveyed or received by actual contact with a holy person, a holy place or a holy object.17 The value of such an object was then entirely placed on the belief in the communicability of sanctity from a holy person, place or object to a pilgrim. For instance, a bath at the spring of Cana (immaterial) and taking earth from the tomb of Jesus Christ (material) were some examples of eulogia.18 An example of such a material eulogia in the early Byzantine pilgrimage was the Eulogia of Saint Symeon the Younger described in the previous section of this document. The Pilgrims believed that the eulogia of Saint Symeon the Younger was a piece of portable and blatant sanctity.19 According to the beliefs of the Pilgrims, the eulogia possessed, and could convey the spiritual power it bears to whoever owns it. Obviously, the Pilgrims had numerous other eulogia with different powers and functions. In order to distinguish between all other eulogia, the Pilgrims depended on art, with which the function, sanctifying origins, circumstances of used, and power of the eulogia was communicated.20 When looking closely at this eulogia, it is evident that the Pilgrims depended on artworks to communicate and respond to the perils and safeties of pilgrimage. The eulogia of Saint Symeon was a token of protection against illnesses, bandits, and wild animals during the pilgrimage. This can be seen when looking at each artistic element of the eulogia in detail. The eulogia of Saint Symeon the Younger, as mentioned earlier, has the Saint perched on a column.21 While this might appear as an artistic and decorative element, literature on the life of the Saint proves it is not. At the age of seven years, Saint Symeon built a pillar on which he lived on for his sixty-eight years. In that era, Saints and members of the clergy emulated Saint Symeon’s lifestyle hence through this eulogia, the Pilgrims indicate that living on a pillar as a saint was a part of their lifestyle. Looking deeper into pilgrim beliefs, one realizes that erecting a pillar as a dwelling place it very symbolic. It symbolizes the fact that man has to look up to God and his servants for assistance when man’s power is not sufficient.22 According to Pilgrims, horizontal, man-to-man relationships are useless if the vertical, man-to-God relationship is not strong. Therefore, as smoke goes up, so do prayers, and so do the servants of God such as saints.23 The positioning of the saint at the top of the eulogia also symbolizes that he looks over the people of his land and supplicates to Christ for their health and safety during the pilgrimage. The design of the eulogia of Saint Symeon is dominated by a depiction of the saint as the intercessor and the promise he makes to his people which is protection.24 The elements in the eulogia such as words and images evoke the pedigree of pilgrimage and where the eulogia itself draws its power.25 Even though most eulogia bear a title indicating where the blessing it yields comes from, the eulogia of Saint Symeon conveys this image through the image of the pillar. The pillar is flanked by what appears to be two ropes on either side of the pillar. While is evident that the rope-like images on either side of the pillar are candlesticks, as evidenced by the flames on top of each, the rope-like design of the candlesticks appears as highly intentional. Literature on iron smelting in the error of the Byzantine Pilgrims indicates that their candlesticks were smooth with curls at the top where the candles would sit.26 This means that the rope-like candlesticks symbolize two aspects of the Pilgrims’ lifestyle. The beaded lines on either side of the pillar are symbolic to the ropes the disciples used to bring supplies to Saint Symeon, who refused to come down from the pillar more than four decades. This concurs with the pilgrim lifestyle of servanthood to one another and more so to spiritual leaders. The alignment of the two rope-like candle stands with the pillar of the saint is also symbolic in the sense that it appears identical to the crucifixion of Jesus Christ.27 Jesus Christ, the savior, was crucified between two thieves. In a similar manner, Saint Symeon, the healer and protector of the Pilgrims, is in the middle. During the life of Saint Symeon, an eyewitness took account of the activities around the column in a Vita of the Saint. From this account, some of the miracles performed by Saint Symeon can be used to understand the imagery in the eulogia.28 Miracle 53, 70 and 231 in the Vita of Saint Symeon both involve the lighting of a lamp before throwing incense and imploring help from God or Saints. If the two parallel lines beside the pillar of Saint Symeon are viewed as candle stands, they symbolize the act of imploring the help of Saint Symeon who, through the eulogia, has the power of visiting the sick and healing them.29 The Pilgrims believed that through the eulogia, the Saint could appear in spirit before them hence it was not necessary for the sick to be ferried to the base of the pillar. This is a strong symbol of the Pilgrims’ faith which is the center of their beliefs since the eulogia acts as an intermediary agent through which the powers of the Saint take effect and perform a miracle in a distant place. The eulogia of Saint Symeon, as mentioned earlier, also has two angels hovering above the Saint on either side. The angels have the inscription ATIOC below them. According to Christian beliefs, angels are supernatural beings sent by God to protect them. Two angels hovering above every other thing in the eulogia symbolize than the power of God is always watching of the Pilgrims.30 This gives the Pilgrims the assurance that despite the dangers they might face in their pilgrimage, the power of the angels and the Saint is always with them through the blessing of the eulogia.31 Additionally, the two angels are both carrying crowns symbolizing that despite the challenges faced, the Pilgrims will always emerge victorious. The inscription ATIOC is Greek for Holy, Holy.32 The fact that the inscription appears beneath the angels means that the angels only protect the people who live according to the creed and teachings of their faith. In order to acquire the protection of the angels, the Pilgrims strived to do what is perceived to be right according to the teachings in the Bible. This protection would be channeled from the angels to the Saint and to the Pilgrims through the eulogia hence yielding it was very critical especially when travelling. The base of the eulogia of Saint Symeon is dominated by images of different aspects of the life of Christ on earth. The placing of these images of Christ at the base is symbolic to the fact that Christians believe that Jesus Christ is the foundation of their faith. These images also depict the fact that Christ is the officiating priest. In a similar manner, Saint Symeon was believed to intercede on behalf of the Pilgrims to Christ who then interceded to on their behalf to God. The baptism of Christ on the eulogia also symbolized renewal in health. As Christ was dipped into the water, the “old” went in with him, and as he emerged from the water, the “new” came with him. This indicates that through the eulogia, the Pilgrims believed that they could be renewed in health. Bibliography Campbell, Sheila D. “The Malcove Collection: A catalogue of the Objects in the Lillian Malcove Collection of the University of Toronto.” Toronto [u.a.]: Univ. of Toronto Press, 1987. Campbell, Sheila D. “The mosaics of Anemurium.” Toronto: Pontifical Institute of Mediaeval Studies, 1998. Campbell, Sheila D. “The mosaics of Antioch.” Toronto: Pontifical Institute of Mediaeval Studies, 1988. Campbell, Sheila. (No Year). “The Malcove Collection. A Catalogue of the Objects in the Lillian Maclove Collection of the University of Toronto.” Buffallo, Toronto. Davies, Paul, Deborah Howard, and Wendy Pullan. “Architecture and pilgrimage, 1000-1500: Southern Europe and Beyond.” Farnham, Surrey: Ashgate Pub, 2011.  http://www.sendspace.com/filegroup/65a7mgMlfT8ssz%2FsbKtE8Rmgc8sLQ4%2Fs(Accessed 13th June 2015) Leslie, Brubaker, and Lymberopoulou, Angeliki. “Images of the Byzantine World: Visions, Messages and Meanings : Studies Presented to Leslie Brubaker.” Farnham, Surrey: Ashgate Publishers, 2011.  Maguire, Eunice, D., Duncan-Flowers, Maggie, J., Gonsova, Anna., and Oehlschlaeger-Garvey, Barbara. (No Year). Art and Holy Powers in the Early Christian House. Illionois Byzantine Studies II. Krannert Art Museum, University of Illinois Press. Palka, Joel W. “Maya pilgrimage to ritual landscapes: insights from archaeology, history, and ethnography,” 2014. http://public.eblib.com/choice/publicfullrecord.aspx?p=1707710. (Accessed 13th June 2015) Stuiber, Albert. “Eulogia,” RAC, VI (1966) cols. 900ff. Talbot, Alice-Mary Maffry, Denis Sullivan, Elizabeth Fisher, and Stratis Papaioannou. “Byzantine religious culture studies in honor of Alice-Mary Talbot.” Leiden: Brill, 2012. http://dx.doi.org/10.1163/9789004226494. (Accessed 13th June 2015) Vikan, Gary, and Gary Vikan. “Early Byzantine Pilgrimage Art.” Washington, D.C.: Dumbarton Oaks Research Library and Collection, 2010. Vikan, Gary. “Byzantine Pilgrimage Art.” Washington: Dumbarton oaks, 1982.  Read More