i·co·nog·ra·phy /ˌīkəˈnägrəfē/
Noun
Noun
- The use or study of images or symbols in visual arts.
- The visual images, symbols, or modes of representation collectively associated with a person, cult, or movement.
Christ pantocrator mosaic Hagia Sophia, Wikimedia Commons
There are numerous symbols in religious art. The word ‘symbol’ will be a recurring theme
from this time period forward. Although collectively called symbols, the word ‘icon’ may be
used occasionally.
For now, let’s concentrate on a few symbols that are significant. These symbols were created and used prior to the
Carolingian period, but seem more visible in the Carolingian monastic abbeys perhaps due to Charlemagne's focus. The use
of symbols is seen in mosaics, illuminated manuscripts , stained glass, sculpture, in frescos and textiles to name a few. The artist of the time created art in
whatever medium that they excelled in and used the symbols as identification to
tell stories and a pictorial way to tell who the figure is. Since illiteracy
was the norm, more people could recognize a symbol.
The symbols of the four Evangelists are here depicted in
the Book
of Kells.
The four winged creatures symbolize, clockwise from top left, Matthew, Mark, John, and Luke. Wikimedia Commons
Carolingian depiction from an Aachen Gospel, 820 Wikimedia Commons
Seen in the two images above are the first four evangelists: Matthew, Mark, Luke and John. They wrote four
Gospels which are the first four books New Testament in the Bible. These
four men are frequently represented by symbols.
They are normally, but not always, shown with wings. The basic meanings grew over the centuries and are individually articulated below. Above one can compare the way the evangelists looked from the Celtic manuscripts to the Carolingian depictions. They evolved, but symbolically the same thing.
The Ebbo Gospels are an example of the early Carolingian Gospel book known for an unusual style
of illustration of the four evangelists.
It was produced in the ninth century at the Benedictine abbey of
Hautvillers, near Reims. There one can see the stylistic renderings of a few of the evangelists.
Fol 7v: The Evangelist St. Matthew with his symbol the
angel. (Sic. Winged man)
Above, “Matthew the Evangelist, the author of the first gospel account is symbolized by a winged man, or angel. Matthew's gospel starts with Jesus' genealogy from Abraham; it represents Jesus' Incarnation, and so Christ's human nature. This signifies that Christians should use their reason for salvation.” (Wikipedia) He is also frequently seen writing in a book. Matthew: the man.
Fol 47v: The
Evangelist St. Mark with his symbol the lion. Gospels from Mainz,
Now in the Koninklijke Bibliotheek in The Hague (The
National Library of the Netherlands).Wikimedia Commons
Above, “Mark the Evangelist,
the author of the second gospel
account is symbolized by a winged lion – a figure of courage and monarchy. Mark
has John the Baptist
preaching "like a lion roaring" at the beginning of his Gospel. It
also represents Jesus' Resurrection (because
lions were believed to sleep with open eyes, a comparison with Christ in the
tomb), and Christ as king. This signifies that
Christians should be courageous on the path of salvation.” (Wikipedia) Mark: the lion.
Above, “Luke the Evangelist, the author of the third gospel account (and the Acts of the Apostles) is symbolized by a winged ox or bull – a figure of sacrifice, service and strength. Luke's account begins with the duties of Zacharias in the temple; it represents Jesus' sacrifice in His Passion and Crucifixion, as well as Christ being High priest (this also represents Mary's obedience). The ox signifies that Christians should be prepared to sacrifice themselves in following Christ.” (Wikipedia) Luke: the ox
St. John, from the Coronation Gospels. Another Carolingian evangelist portrait in
Greek/Byzantine realist style, probably by a Greek artist, also late 8th
century.
Above, “John the Evangelist, the author of the fourth gospel account is symbolized by an eagle – a figure of the sky, and believed to be able to look straight into the sun. John starts with an eternal overview of Jesus the Logos and goes on to describe many things with a "higher" level than the other three (synoptic) gospels; it represents Jesus' Ascension, and Christ's divine nature. This represents that Christians should look on eternity without flinching as they journey towards their goal of union with God.” (Wikipedia) John: the eagle.
Folio 72 verso of the Codex
Aureus of Lorsch contains an illumination of Christ in Majesty
"[…] the usual accompaniment to Christ in Majesty when portrayed during the same period, reflecting the vision in Revelations. They were presented as one of the most common motifs found on church portals and apses, as well as many other locations. When surrounding Christ, the figure of the man is usually at top left – above Christ's right hand, with the lion above Christ's left arm. Underneath the man is the ox and underneath the lion is the eagle. This both reflects the medieval idea of the order of "nobility" of nature of the beasts (man, lion, ox, eagle) and the text of Ezekiel 1.10. […].” (Wikipedia)
Above, "the image of the Good Shepherd, often with a sheep on his
shoulders, is the most common of the symbolic representations of Christ found the Catacombs
of Rome, and it is related to the Parable of the Lost Sheep. Initially it
was also understood as a symbol like others used in art. By about the 5th
century the figure more often took on the appearance of the conventional
depiction of Christ, as it had developed by this time, and was given a halo and rich robes." (Wikipedia)
Lamb bleeding into the Holy
Chalice, carrying the vexillum.Wikimedia Commons
Above, "the title Lamb of God for Jesus appears only in the Gospel of John, with the initial proclamation: "Behold the Lamb of God who takes away the sin of the world" in John 1:29, the title reaffirmed the next day in John 1:36.[1] The second use of the title Lamb of God takes place in the presence of the first two apostles of Jesus, who immediately follow him, address him as Rabbi with respect and later in the narrative bring others to meet him." (Wikipedia)
Although not exclusive
to Christian art, the halo (nimbus, aureole, glory) is nonetheless a religious symbol.
This halo surrounding the head of a person in art frequently indicates a holy,
sacred person, angels and prophets. The halo has been used by non-Christian
religions as well. It is the concept of energy
from God, divine light or grace of God, a window into heaven.
Nativity and Transfiguration of
Christ, with cross haloes; the apostles,
angels and prophets have
plain ones. (1025-50, Cologne). Wikimedia Commons
Above is a story full of iconography.
Notice Christ is standing on a ‘firm foundation.’ Speaking of that, observe what the feet are resting on in religious art; stone/concrete is good and solid–like the church. Look at the body language of
the characters, the different types of halos.
What are the people holding, if anything, in their hands? How about figuring out who is an apostile, angel or profit?
Iconography has been around since the Paleolithic times. Unfortunately, those are studies the Thursday Art Group of 5 (TAG-5) visited prior to the start of this blog. One may not always know what all the symbols mean, but it is definitely an artistic language. The next time you visit a museum or church, start seeing at what you are looking at with different eyes―a new appreciation of what you see may appear―especially those religious sections that frequently get passed by quickly or you don't pay too much attention to! My thought is that to appreciate the art, one must know more about the art. One doesn't even have to like it. This is art appreciation.
Mary B.
P.S. As you may already have observed, there are just few actual images from the Carolingian period on this post. Since free and copyright free images are what I post, it can’t be perfect; the visual references seemed more important. Okay, I’m having my own pity party here people!
P.S. As you may already have observed, there are just few actual images from the Carolingian period on this post. Since free and copyright free images are what I post, it can’t be perfect; the visual references seemed more important. Okay, I’m having my own pity party here people!
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