The Ottonian period was from the year 919 to 1024, in which Germany became the leading country in Europe politically and artistically. The Ottonian rulers adopted Carolingian ambitions and traditions in art and politics to achieve greatness, but they developed their own original identity. The Ottonian emperors like the Carolingian rulers wanted a closer relationship with the papacy and planned to recreate the glory of the ancient Roman Empire in a universal Christian state governed by the Pope. Therefore, the principal monarchs of the Ottonian dynasty, Otto I (c. 912-973), Otto II (c. 955-983), and Otto III (c. 980-1002) proceeded with their political agenda by sponsoring religious reforms, literature, and the arts.
An exemplar of spiritual
…show more content…
and secular unity depicted in both literature and art is Otto III’s illuminated manuscript the Gospel Book of Otto III (ca. 997-1000). In a series of paintings, Otto III illustrates his coronation with an emphasis on inheriting both Charlemagne’s throne and that of his predecessors in a setting where heaven and earth converge. The composition immediately makes it clear that it is to represent some eternal truths about the structure of Otto III’s reign with connections between the earthly and spiritual hierarchies visualized within the book’s pages. In Otto III Receiving the Homage of the Four Parts of the Empire (ca. 997-1000) and Otto III Between Church and State (ca. 997-1000) the emperor deliberately shows religion and government are interwoven. In Otto III Between Church and State, he is the central figure and is enthroned as if he were Christ. He is crowned and is wearing imperial regalia; holding the Orbis Mundi with a cross in his right hand and the eagle scepter representing Rome in his left. The primary color of his clothes and backdrop with the exception of imperial purple is symbolic in Christianity: the color green for spring and resurrection, blue for purity and truth, and red for sacrifice. There are four representatives from the ecclesiastical and military realms that flank the emperor. Otto III is the largest figure in this coronation scene symbolizing his importance and his representation of the two realms produces an idealized political hierarchy. Moreover, the Otto III Receiving the Homage of the Four Parts of the Empire reinforces his imperial authority with the depiction of four kings representing the geographical parts of the realm offering homage (Davies et al. 340). The kings signify the kingdoms of Slavinia, Germania, Gallia, and Roma. They are humbly barefooted, bowing submissively, with gifts in their hands as they respectfully acknowledge Otto III’s authority. With their meek stances and subservient manners, is reminiscent of the “Magi offering gifts to Christ” (Davies et al. 340). These two manuscripts are painted in pastel colors and is Byzantine stylized. Like in the Godescalc Gospels cover page Christ Enthroned, the figure's clothing does not drop into realistic folds around their bodies, which is another stylistic characteristic of early medieval art. Furthermore, the figures clothes and bodies are highlighted with white lines and contrasted with bold dark lines to accentuate the shadows. The artist produced an illusion of depth and presented the emperor, his advisers, and the four supplicants in a Greco-Roman landscape. The viewer is looking into the window of Otto III’s coronation; the ecclesiastical, military, and the four kings are looking at the emperor, and he is looking out at us, thus giving a 360 degree view. Overall, this image visually commands the symbolic language of the coronation ritual, in a Roman and Byzantine manner to illustrate the union of heaven and earth. Within the Gospel Book of Otto III pages is a set of illustrations depicting the life of Christ.
Jesus Washing the Feet of St. Peter (ca.997-100) and St. Luke (ca.997-100) illuminated pages contain the echoes of ancient painting and architectural perspective used in Roman wall painting through Byzantine art (Davies, et al. 341). Set in a gold Byzantine background, Jesus Washing the Feet of St. Peter depicts Christ and Peter as the central figures. As in Otto III Receiving the Homage of the Four Parts of the Empire, both Jesus and his apostle Peter are larger than the bystanders, thus visually reinforcing their importance. Jesus is standing and extending his three right fingers in a benedictory gesture to the seated Peter. This benedictory gesture echoes the cover page of the Godescalc Gospels, Christ Enthroned. Peter is looking up at Christ with his left foot in a bowl of water and both arms raised in a supplicant manner to receive his blessing. However, this depiction is also different from the static Christ Enthroned in that here is an emphasis on the shifting from “physical to spiritual action” (Davies, et al. 342). Once more here, Christ has a cruciform halo in which three arms are showing and along with the three fingers raised, eludes to the Holy Trinity. The eight apostles who are reduced to as mere bystanders are compressed into a small space on the right watching this blessed event. There are two male figures on left, one who is holding a bowl of water and another …show more content…
who is bent over removing his sandals to get his feet washed. Everyone’s body and facial features are elongated and their drapery folds are impractical and in an abstract manner which is similar to the Carolingian Godescalc Gospels illustrations and to the Otto III Receiving the Homage of the Four Parts of the Empire and Otto III Between Church and State depictions. Furthermore, the symbolic colors of blue are evident in this scene with everyone wearing or having a semblance of the color including the water. Blue is the color of truth and purity, which emphasizes their spiritual connection with God. In the gold background is the Heavenly City of God in a celestial space with a fading blue sky behind it. Jesus is the focal point of the composition and the illuminator artist used architectural perspective to create depth for the figures and the Holy City in the background. The viewers eyes will go from Christ in the center, to the Heavenly City then to the bystanders in the left and right of the page. The architectural frame around Jesus, his disciples, and the Heavenly City illustrates the artist use of perspectives found in Roman wall painting and signifies an emphasis on the spiritual realm rather than the Earth dominion (Davies, et al. 341). Another symbolic image from the illuminated manuscript the Gospel Book of Otto III is a depiction of St.
Luke (ca. 997-1000). Luke is one of the Four Evangelists who were authors on the life and teachings of Jesus Christ. In this vivid and elaborate scene, the central figure is the enthroned Luke who supports a host of Jewish prophets and heavenly messengers with his outstretched arms and with books from the Old Testament is stacked in his lap. His throne consists of two rainbows as he holds above him a cluster of clouds looking powerful and formidable. Within these cluster of clouds “tongues of light radiate in every direction” reinforcing that the power of God moves through him (Davies, et al. 342). The central element within the clouds is the winged ox, which is Luke’s symbol. The ox is a symbolic figure because it represents sacrifice, service, and strength and Christians need to follow the example of this animal to follow Christ. The winged ox is surrounded by five crowned Hebrew prophets in a circular manner whose heads are only visible. The outer circle of the cloud comprises of six angels with golden halos. At the bottom of this illustration, are two lambs to the left and right of Luke drinking the life-giving waters that pour forth from his feet. To tie the mystical and Christian elements on this page is the inscription at the bottom of the page: Fonte patrum ductas bos agnis elicit undas (“From the source of the fathers, the ox brings forth a flow of water for the
lambs”) is a message of salvation and spiritual purity (Davies et al. 342). Again, like Jesus Washing the Feet of St. Peter, the background is in gold and there is the symbolic colors of the green for spring and blue for purity and truth in this scene. The many colors and golden backdrop reflects Byzantine influence and in combination with the powerful symbolism in this portrayal, the distinctive cloud iconography is set in a direct relationship to processes of divine revelation (Garrison, 128).
which cover his waist and some of his torso. He is holding a very tall, slender cross in his left hand, while looking with a diffused look to the right. Also, to the left of him (to the right from the viewer’s perspective) there is a sheep lying upon a rock.
The positions of the stories in the apse show the importance of the figures represented in the images. Christ's placement the center of the apse holding a book with his left hand provides a direct relationship to the Bible. His right hand held up in blessing illustrates his divine power towards the people, who receive the sacrament on the altar below him. Christ is also surrounded by stars, wh...
The painting is of a young St. John the Baptist preaching to his congregation. St. John is an important figure in Catholicism not only for his preaching and baptisms in the River Jordan, but for his role as the last prophet and the forerunner of Jesus Christ. His preaching foretells the coming of Christ as the Messiah, and thereupon Christ’s baptism, the voice from Heaven told St. John that Jesus was God’s son. This piece by Calabrese captures John at the height of his oration. Fixed atop a decrepit tree trunk yet grappling for stability, John is shown here in his ascetic attire composed of camel hair, holding his staff and scroll bearing the words “Ecce Agnus Dei,” which translates into Beho...
Francis of Assisi is one of the most influential personalities in the entire world. In the book ‘Francis of Assisi: Performing the Gospel Life,’ Cunningham recounts the life of this humble monk who lived in the medieval times, and shaped the Christian life, which spread in Western culture throughout the rest of history. I believe Cunningham accurately accounts for the life of Francis of Assisi, and in doing so; he provides a trajectory of the Christian faith from its early and historical proponents through its fusion with western culture, and its subsequent spread throughout the world.
In the beginning God created the heavens and the earth (Genesis1:1.) God’s perfect wisdom created everything. In Genesis 1 and 2 we can see that God has loving and gentile nature when He created the earth and heavens. God created man in his image and we are the only creation that God breathed in the breath of life for human beings (Genesis 2:7). God did not do this for any of other creations but only for humans. The Bible has many scriptures that tell us how creative God is. Genesis 1;26 states “Let us make man in our image, after our likeness. And let them have dominion over the fish of the sea and over the birds of the heavens and over the livestock and over all the earth and over every creeping thing that creeps on the earth.” God created all of this for us to have fellowship with him.
The frame underneath of Christ, is the drowning psalmist, who is looking upward while water is pouring out of his mouth. As the water swirls around him, there are seven fish (the commentary suggest that the fish may represent the sins deadly sins). The feet of the psalmist are unpainted (commentary notes) the feet are partially obscured a...
The foundation of a Christian worldview is the belief in a personal God, creator and ruler of the universe. The Christian worldview views the world through God’s word, providing the framework for humanity to live by giving meaning and purpose to life. It defines who Jesus is, human nature, and how salvation is achieved. In essence it is the basis of which Christians behave, interact, interpret life and comprehend reality. A Christian worldview imparts confidence, answers to life’s problems, and hope for the future. In this paper I will discuss the essentials of a Christian worldview and an analysis of the influences, benefits, and difficulties sustaining the Christian faith.
So it can be said that gnosis is secret knowledge revealed to man hat only get by someone or a
The Gospel of Matthew is an eyewitness story written for an audience of believers, under great stress, and persecution. Matthew develops a theological plot incorporating genealogy, speeches, parables, inter and intra textual references, common vocabulary, and fulfillment quotations, with a tension that builds as we are invited into the story. The crucifixion and resurrection bring us to a Christological climax that symbolically points beyond its conclusion to God’s Kingdom, bringing atonement, salvation and the ushering in the Eschaton. The extraordinary events surrounding the crucifixion act as commentary, adding important details concerning the death of Jesus.1
Around the crown: "Glory to God in the highest and on earth peace, good will toward men - Luke, chapter II, verse 14."
The contents of the Bible have dealt with controversy in regards to its inerrancy since publication, and will surely continue to. Historians progress to learn more about biblical stories in order to provide evidence for the reliability of information. Many believers today understand that not everything in the Bible has been factually proven. An outstanding topic many scholars pay attention to lies within the four gospels. The three synoptic gospels, Matthew, Mark, and Luke, replay essentially the same story with minor inconsistencies, while John portrays Jesus in an entirely different way. The differences in each gospel are due to how each gospel entertains different portrayals of the life and understanding of Jesus himself, in order to persuade
If you were to look at the Calf-Bearer and the Good Shepherd, you would immediately be able to point out some similarities. They have the same form and both figures are carrying a lamb on their shoulders. These qualities alone make the connection between these two statues ,and the influence of ancient Greek art on early Christian art, unarguable. However, by truly scrutinizing each facet of these two sculptures, one can see in detail the exact characteristics that have been carried over from the classical Greek art to the more modern Christian art.
The word 'gospel' means good news. There are four gospel accounts in the New Testament:
The gospel of Luke is the third book of the New Testament. The theme of the gospel is that Jesus was Christ, as well as the perfect man who willingly sacrificed his life to save humanity. Though Jesus never sinned he suffered the penalty for the sins of many others. Luke begins with a detailed illustration of the events surrounding Jesus’ birth. He shares how the Son of God is born to a virgin mother in a manger and is visited by shepherds. The ultimate King was not born in an extravagant castle or temple nor was he in the presence of royalty, but He was born as if He were the lowest of men. Luke then shows us how human our savior really was. Our Lord wept, loved, and grew physically and intellectually. Though, as Luke points out, our Lords
In Leonardo’s mural, Jesus sits in the center, and John and Peter next to Him on the right hand side of the Lord, while John’s brother James has the first seat on the left side.(Paul Haupt, 179) The representation of the Last Supper in the monastic refectory was a late arrival in the history of a subject that travels back in time to the early Christian era. (Jack Wasserman, 15)