early medieval art 2012
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Art 108: Ancient to Medieval Westchester Community College Fall 2012
Early Medieval Art in Europe
Early Medieval Europe Western Europe was overrun by hordes of migrating “barbarian” tribes
Early Medieval Europe Middle Ages/Medieval period: • Fall of Roman Empire (5th century) • Renaissance (15th century)
Early Medieval Europe
This period of roughly 1,000 years is further divided into three phases
1. Early Medieval (ending in the 10-11th century)
2. Romanesque (11th-12th century)
3. Gothic (12th-15th century)
Early Medieval Europe Incessant warfare Barbarian warlords battle for power
Helmet from the Sutton Hoo Ship Burial British Museum
Early Medieval Europe Medieval castle: • Fortresses attest to incessant warfare
Caernarfon Castle, 13th century, Wales Image source: http://www.snowdoniaguide.com/caernarfon_castle.htm
Dark Ages Cultural advances of Rome were lost Literacy and learning Architecture and monumental arts Government and trade economy
Barbarian warlords settled down and formed kingdoms
The Barbarians The migrating barbarian tribes brought with them pagan religious beliefs and native artistic traditions
They were all eventually Christianized
Migration Arts The art of these migrating tribes is referred to as “migration arts”
It consists of small portable objects of adornment
Brooch, first half of 5th century, Eastern Germanic Silver with gold sheet overlay, garnets Metropolitan Museum
Migration Arts Common objects include status symbols such as decorative belt buckles and fibulae (brooches) worn by chieftains as emblems of power
Fibula, from a woman’s tomb. Merovingian, mid-6th cen. Silver, gold, garnet, glass, cloisonné, mid 6th century. Museé d’Archéolgie, Saint-Germiane-en-Laye
Migration Arts
Pair of eagle fibulae, Visigothic, early 6thc., gold over bronze with gemstones, glass and meerschaum Walters Art Gallery
Migration Arts In 1939 the burial of an Anglo Saxon warrior king was found at Sutton Hoo, in Suffolk, England
Excavation site, Sutton Hoo ship burial Image source: http://www.suttonhoo.org/gallery_detail.asp?fld_gallery_ID=3&offset=24
Migration Arts The warrior was buried in a ship with great riches
Illustration of the warrior buried in the Sutton Hoo ship burial British Museum
Migration Arts It included weapons and armor
Helmet from the Sutton Hoo Ship Burial Anglo Saxon, early 7thc British Museum
Replica of helmet from Sutton Hoo ship burial British Museum
Migration Arts And objects of adornment, such as this belt buckle decorated with interlaced snakes
Belt buckle, from the Sutton Hoo ship burial Anglo Saxon, early 7thc British Museum
Belt buckle, from the Sutton Hoo ship burial Anglo Saxon, early 7thc British Museum
Belt buckle, from the Sutton Hoo ship burial Anglo Saxon, early 7thc British Museum
Migration Arts This purse lid exemplifies many of the characteristic features of the migration arts:
Abstract interlace patterns Stylized animals Cloisonné technique
Purse cover, from the Sutton Hoo ship burial Anglo Saxon, 7th century British Museum
Purse cover, from the Sutton Hoo ship burial Anglo Saxon, 7th century British Museum
Migration Arts The technique used to make the purse is called cloissonné
Colored glass is used to fill recesses formed by intricate metal edges
Buckle with cloisonné decoration, from the Sutton Hoo ship burial British Museum
Shoulder clasp from the Sutton Hoo Ship Burial British Museum
Shoulder clasp from the Sutton Hoo Ship Burial British Museum
Main characteristics of Migration Arts:
Advanced metalworking techniques Zoomorphic imagery (animals) Interlace patterns (knots)
Migration Arts
Viking ship prow Viking ship Museum, Norway
Migration Arts When the barbarian tribes converted to Christianity, their vernacular style was absorbed into the art of Medieval Christianity
By the 11th century, Scandinavia had become mostly Christian, but Viking artistic traditions persisted, as seen in the intertwinging animal-and-plant decoration of the portal of this Norwegian church.
Hiberno Saxon Art In 432 Saint Patrick brought Christianity to the Celts in Ireland
In 563 St. Columba founded many monasteries that became centers of learning
Image source: http://macdonnellofleinster.org/page_7c__saint_patrick.htm
Monasticism Monasteries were self-sufficient communities of Monks (and nuns) who devoted themselves to a life of prayer, study, and work
Bible Production Irish monasteries became centers for the production of liturgical books
Bible Production Books were made in workshops called scriptoria
Texts and pictures were copied by hand
Medieval Scriptorium Image source: http://guindo.pntic.mec.es/~jmag0042/palefont.html
Hiberno-Saxon Manuscript Illumination The illustrated pages of these bibles represents a fusion of Christian imagery and the animal interlace patterns of the European migration arts
Lindisfarne Gospels, c. 698-721 Tempera on vellum Image source: http://www.dclab.com/lindisfarne_gospels.asp
Hiberno-Saxon Manuscript Illumination The monastery of Lindisfarne was established in 635 CE
It is one of the oldest Celtic Christian establishments in England
Monastery of Lindisfarne, Northumberland, England. Karmin Photography. Image source: http://www.flickr.com/photos/karen_cb/6258184421/
Monastery of Lindisfarne, Northumberland, England. Karmin Photography. Image source: http://www.flickr.com/photos/karen_cb/6258184421/
Hiberno-Saxon Manuscript Illumination The Lindisfarne Gospels contains the Gospels of Matthew, Mark, Luke, and John
Lindisfarne Gospels, cover Image source: http://www.bl.uk/onlinegallery/ttp/lindisfarne/accessible/introduction.html
Author Portraits Author portraits introduced the Gospels with a portrait of the author
Lindisfarne Gospels,St. Matthew, f. 25v, c. 698-721 Tempera on vellum British Library
Author Portraits This one was based on a Roman model, but the forms have been flattened and simplified
Lindisfarne Gospels,St. Matthew, f. 25v, c. 698-721 Tempera on vellum British Library
Roman fresco of the Greek dramatist Menander from Pompeii.
Author Page This page introduces the Gospel of Matthew
He can be identified because of the lion symbol
Page introducing the Gospel of Mark Lindisfarne Gospels, c. 698-721 British Library
Hiberno-Saxon Manuscript Illumination The Evangelists are commonly represented by animals
Matthew = Man Mark = Lion Luke = Ox John = Eagle
Evangelist Symbols, Book of Armagh Image source: http://www.uni-due.de/DI/Manuscripts.htm
Hiberno-Saxon Manuscript Illumination The Evangelist symbols are based on the vision of the prophet Ezekiel
Engraved illustration of the "chariot vision" of the Biblical book of Ezekiel, chapter 1, after an earlier illustration by Matthaeus (Matthäus) Merian (1593-1650), for his "Icones Biblicae” http://en.wikipedia.org/wiki/File:Ezekiel's_vision.jpg
Rev 4:5-11 (NRSV) “the first living creature like a lion, the second living creature like an ox, the third living creature with a face like a human face, and the fourth living creature like a flying eagle.” ://catholic-resources.org/Art/Evangelists_Symbols.htm
Hiberno-Saxon Manuscript Illumination The animal symbols resemble the animals of the Barbarian arts
Evangelist Symbol, Book of Kells
Author page introducing the Gospel of Luke Lindisfarne Gospels, c. 698-721 British Library
Author page introducing the Gospel of John Lindisfarne Gospels, c. 698-721 British Library
Carpet Page The author page is followed by a carpet page – so called because of its resemblance to a richly patterned carpet
Carpet Page, Lindisfarne Gospels, c. 698-721 Tempera on vellum
Carpet Page The central motif takes the form of a Celtic Cross,
Carpet Page, Lindisfarne Gospels, c. 698-721 Tempera on vellum
Carpet Page The interlace patterns reflect the influence of migration art traditions
Carpet Page, Lindisfarne Gospels, c. 698-721 Tempera on vellum
Hiberno-Saxon Manuscript Illumination Celtic Knots: intricate patterns that recall the mathematical complexity of Islamic geometric patterns
Carpet Page, Lindisfarne Gospels, c. 698-721 Tempera on vellum
“The cross-carpet page at the beginning of St Matthew's Gospel is probably the best known decorated page in the manuscript . . . On the opposite page the Gospel opens with the Latin words: 'Liber generationis iesu christi', The book of the generation of Jesus Christ, presented in elaborate initials and display capitals.” British Library
Calligraphy was an important art form in both Islamic and Christian traditions
Lindisfarne Gospels, Gospel of St Matthew the Evangelist, initial page, c. 698-721 Tempera on vellum Image source: http://www.bl.uk/onlinegallery/sacredtexts/lindisfarne.html
Hiberno-Saxon Manuscript Illumination
Lindisfarne Gospels, Gospel of St Matthew the Evangelist, initial page, c. 698-721 Tempera on vellum Image source: http://www.bl.uk/onlinegallery/sacredtexts/lindisfarne.html
“So when the Word was shown to men through the lawgiver and the prophets, it was not shown them without suitable vesture. There it is covered by the veil of flesh, here of the letter. The letter appears as flesh; but the spiritual sense within is known as divinity... Blessed are the eyes which see divine spirit through the letter's veil.” Claudius of Turin, 9thc Bishop
The act of copying and reading a Bible or Qur’an was a form of religious devotion -- since the text represents the “word of god”
Illuminated Manuscript Koran, Illuminated incipit page with headpiece inscribed with the chapter heading for Sūrat Maryam, Walters Art Museum Ms. 568, fol. 1b Image source: http://www.flickr.com/photos/39699193@N03/3834992550/
St Matthew's Gospel includes a second major initial page, marking the beginning of the Christmas story
The first three lines contain the words: 'Christi autem generatio sic erat', Now the birth of Jesus Christ was of this kind.
Lindisfarne Gospels, Gospel of St Matthew the Evangelist, Second initial page, c. 698-721 Tempera on vellum Image source: http://www.bl.uk/onlinegallery/ttp/lindisfarne/accessible/pages11and12.html#content
Book of Kells One of the most famous examples of Hiberno Saxon manuscript illumination is the Book of Kells
Facsimile reproduction of the Book of Kells Image source: http://www.library.arizona.edu/exhibits/illuman/pre9_07.html
Book of Kells The book opens with a page representing all four of the Evangelists: Matthew, Mark, Luke, and John
Book of Kells, late 8th or early 9th century Trinity College Library, Dublin
Hiberno-Saxon Manuscript Illumination Matthew is represented as a man or an angel
Book of Kells, late 8th or early 9th century Trinity College Library, Dublin
Hiberno-Saxon Manuscript Illumination Mark is represented by a lion
Book of Kells, late 8th or early 9th century Trinity College Library, Dublin
Hiberno-Saxon Manuscript Illumination Luke is represented by an ox
Book of Kells, late 8th or early 9th century Trinity College Library, Dublin
Hiberno-Saxon Manuscript Illumination And John is represented by an eagle
Book of Kells, late 8th or early 9th century Trinity College Library, Dublin
Author Page A separate author page introduces the Gospels of Matthew in the Book of Kells
Page introducing the Gospel of Matthew, Book of Kells http://employees.oneonta.edu/farberas/arth/arth212/book_of_kells.html
Author Page The incipit page begins with the same words we saw in the Lindisfarne Gospels: 'Liber generationis iesu christi’
Incipit Page, Gospel of Matthew, Book of Kells http://employees.oneonta.edu/farberas/arth/arth212/book_of_kells.html
Book of Kells Like the Linidsfarne Gospels, there is a second incipit page, with the text: "XPI autem generatio....” Now the generation of Christ was in this wise”
Chi-rho-iota page, from the Book of Kells, 8th-9th c., Trinity College Library, London
Book of Kells The chi-rho-iota (XPI) representing the first three letters of the word “Christos” fills the entire page
Chi-rho-iota page, from the Book of Kells, 8th-9th c., Trinity College Library, London
Book of Kells Viewed closely, the page is filled with zoomorphic imagery and intricate interlace patterns
Chi-rho-iota page, from the Book of Kells, 8th-9th c., Trinity College Library, London