The King Great Goodness Part 2 ~ Mahasilava Jataka (Eng. & Chi.).pptx
Book Of Kells08post
1.
2.
3.
4. •Carolus Magnus (742? – 814)
•King of the Franks and Emperor of
the Romans (800 – 814)
•Son of Pepin the Short (who begins
an alliance with the Pope Stephen II)
•Campaigns against the Lombards in
Italy, Islam in Spain, and many
northern European tribes
•Crowned Holy Roman Emperor on
Christmas Day, 800
5. Established new Academy at his
court and encouraged the copying of
manuscripts including pagan and
classical literature
United the Christian lands of
Western Europe and firmly
established the power of the church
Widespread development of
manuscripts and monasteries
6.
7. Carolingian Art
Equestrian Statue of
Charlemagne
• Inspired by Roman
equestrian monuments
such as Marcus Aurelius
• Imperial crown and robes
• Orb as a symbol of the
world
• Rider larger than the
horse he rides on
• Horse is on parade, seems
tame and obedient
• Sits as though he is
standing upright
10. Palatine Chapel, Aachen
•Central plan, topped by an octagon
•Built for Charlemagne
•Inspired by San Vitale
•Capitals taken from old Roman
monuments
•Large heavy appearance
•Arches smaller on first story, larger
on second
•Arches on second story have Roman
columns placed inside that are purely
decorative, and do not hold the
arches up
•Arches on first floor have a low,
heavy, thick appearance
•Arches have a striped pattern
11. Comparison of the Plans of San Vitale in Ravenna to the
Palace Chapel in Aix-la-Chapelle.
13. Lorsch Gatehouse, Lorsch
(c. 780)
• Not really a gateway, but
probably in an atrium in a
monastery
• Cf. a triumphal arch in a Roman
forum
• Gabled roof for snow
• Three equal openings
• Columns placed against wall
• Surface pattern and design
• Fluted pilasters
• Chapel on top may have been a
reception hall for distinguished
guests
• Imitation pediments
14. St. Matthew, the Coronation Gospels, St. Matthew the Ebbo Gospels, c. 816
c. 800
18. Carolingian Art
Monastery Plan, St. Gall,
Switzerland
• Ideal plan of a self-sufficient
monastic community
• Church in center, other buildings
around
• Daily activities in one place
• Cloistered monks never leave
except to work in the fields
• Community of about 250-300
monks with 30 to 40 serfs per
monk Timber architecture in outer
• Highly organized buildings
• Many altars in church, not for Standard of comfort was high for
congregation, but for monks to the time
say Mass
Serfs lived with animals in their
• Everything necessary for the pens
monks grouped around the
cloister Infirmary, school, convent, guest
house
19. Early Medieval Art
Sutton Hoo Purse Lid
• Geometric interlace
designs
• Symmetry of forms
• Animals and humans
interact
• Repetition of patterns
• Used as a purse cover for
a disintegrated purse
found in a ship burial in
England
Purse Cover, Sutton Hoo
ship burial, c. 655
20. In art, exceedingly complicated forms are
used all over a figure to create a single
unified image. Similarly in literature,
multiple plot lines are developed and Animal Head Prow, the
abandoned, only to be taken up again in Osberg ship burial, c. 825
order to create a single, unified dramatic
narrative.
26. The Book of
Lindisfarne
Vellum sheets arranged
so that the spine ridge
of the animal runs
across the page
horizontally at the same
place, minimizing
movement of the page
when the skin tries to
return to the shape of
the animal, causing the
paint to flake
27. Cross Page from The
Book of Lindisfarne
•Balanced design
•Cross clearly defined,
stands apart from the
space
•Animal interlace
•Complicated, spiraling
patterns
•Symmetry
•Colors used in
alternate positions
around the cross
•Known as a carpet
page
28. Saint Matthew Page from The Book
of Lindisfarne
• Matthew shown as author and
scribe writing his book of the Bible
• His symbol, the angel, is above him
with the words “imago hominis” –
“image of a man”
• Unknown man behind the curtain:
Christ? Moses with the Old
Testament?
• The word Saint labeled in Greek,
using Latin characters, “O Agios”
• Mattheus in Latin
• Strong use of vibrant color
• Heavy outlines delineate forms
• Folds in drapery indicated by
contrasting lines that sweep in
patterns
29. The Book of Kells is not simply a religious manuscript. True, it contains the four
gospels of Mark, Mathew, Luke and John and that was the sole original purpose of the
book. But its age and its design, although damaged, allow us a glorious glimpse into the
art and style of ancient Ireland. The book is, quite simply, considered a crowning glory
of the Celtic art form, and possibly one of the most important treasures of Western
Europe.
30. Experts are uncertain where
the Book of Kells was first
begun, but evidence points to
the Isle of Iona, which was the
center of St. Columba's
influence and the home of his
church. Later, during the
Viking raids of the 9th century,
it was moved for its protection
to Kells Monastery, County
Meath, Ireland. Here it
remained for almost two
hundred years, until it was
stolen in 1007. Its golden
cover, which was probably
encrusted with gems, was
ripped from the book, and the
remainder was thrown in a
ditch. The book was soon
recovered, but not before it
received some water damage
to the front and back pages.
Unfortunately, its cover was
forever lost.
31. The Book of Kells remained in
the monastery at Kells until
1541, when the Roman Catholic
Church took it for protection. In
1661, it was returned to Ireland
and given to Trinity College of
Dublin by Archbishop Ussher. It
has remained at the college since
then and is the most important
work that the university library
contains.
32. Over the years, approximately 30 of
its pages have been lost, the
remaining 340 contains the four
gospels, a list of Hebrew names, and
the Eusebian cannons. But these are
not the hallmarks of the book, as it is
the artwork contained on the
remaining leaves of calfskin pages
that are its major achievement.
33. The book is resplendent with artwork,
covering almost all the styles known at
the time. It is estimated that this
artwork took a team of illustrators
thirty years to complete. All of it
meticulously done by hand and in
amazing intricacy and color. The most
resplendent of the pages open the four
chapters with illustrations of the saints
along with individual pages that depict
events in the life of Christ.
34. The detail in the Book of Kells
is amazing, with no one symbol
duplicated elsewhere in the
book. In one spot there are over
158 lacings of a white ribbon
contained in a square inch and
nowhere can there be found an
error by the artist, even after
searching with a magnifying
glass. It is no wonder that for
many years, it was believed that
only angels could only have
written the Book of Kells.
35. Between the years 150 and 850
Rome Carolingian
• Temples • Churches
• Polytheism • Christianity
• Stone Architecture using • Stone and Timber
columns and arches using architecture using blend of
Greek and Etruscan models Roman and Byzantine
• Stone sculpture that is models
veristic • Ivory, Wood and Metal
• Painting on walls, statues sculpture that is abstract
and buildings using the • Painting in manuscripts
natural world as a model representing biblical and
Christian themes
36. Class Status
Rome Carolingian - Gothic
• Emperor • Pope
• Senate • Emperor
• Patriarchs • King
• Plebians • Nobleman
• Local Lord
• Peasant
37. Three Types of People in
Medieval Society
1. Those who Fight
2. Those who Pray
3. Those who Work
39. Saint Michael’s, Hildesheim
• Two pairs of lateral entrances
Ottonian Art
• Two pairs of crossing towers
• Two pairs of stair turrets
• Two apses
• Two transepts
• Supports in the nave are not
traditional columns, but pairs of
columns alternating with square
piers
• Divides nave into three separate
units of three openings each
• First and third units are related to
the lateral entrances to the
building
• Nave is a hall that connects the two
apses
• Windows do not line up with arches
below: 9 arches with 10 windows
• Spacious undecorated interior
40.
41.
42. Bronze Column of
Hildesheim
•Spiral column akin
to Column of
Trajan; scenes from
bottom to top, but
in reverse spiral
•Story of the life of
Christ
•Culminates in
decorative capital
43. Bronze Door of Hildesheim
• Suggestions of Roman
monumentality: inspired by
bronze doors of the Pantheon
(now gone) or Palatine Chapel (no
decoration)
• Solid bronze, each scene molded
separately
• Scenes compare scenes of the fall
of man with the saving of man
• Rectangular scenes with few
figures and a barren landscape,
empty background
• Emphasis of gesture, liveliness
• Bony figures
• Emphasis on extremities: hands,
feet, head
• Spiky foliage
• Heads fully rounded and emerge
from background
• Scenes tell the story of the life of
Christ and Adam and Eve
48. After the death of Charlemagne, his
kingdom was divided among his
grandsons, only to disintegrate at the
hands of Vikings and Magyars. A re-
consolidation occurred, however, in
the middle of the 10th century,
thanks to a new line of German
emperors known as the Ottonians.
The Ottonian period saw a new
wave of influence from the Greek
East (Otto II married a Byzantine
princess), which resulted in one of
the first monumental sculptures of
the crucified Christ, the Gero
Crucifix.
The face (heavily etched with pain),
the bulging arc of the abdomen, and
the tension in the tightly stretched
arms all convey Christ's torment
with unequalled expression.
