The document discusses different artistic styles throughout history and how they reflected beliefs and spirituality. Byzantine architecture used mosaics and stylized symbolism to convey perceived spirituality. Gothic cathedrals featured stained glass windows and flying buttresses and served as encyclopedias of Christian meaning by using their architectural designs to transmit spiritual messages. Different artistic eras reflected the dominant beliefs and societies of their time through their artistic styles and designs.
Major pilgrimage roads developed in Western Europe, inspiring new architectural forms. Pilgrims flocked to relics of saints housed in elaborate reliquaries. Romanesque churches featured iconic Last Judgment scenes on entryways, depicting heaven, hell, and judgment. Sculpture and tapestries further illustrated biblical narratives, with the Bayeux Tapestry uniquely capturing the Norman invasion of England through woven scenes.
Exeter Cathedral is located in Exeter, Devon, England. It is the seat of the Bishop of Exeter and parts of the cathedral date back to the 11th century, including its towers and transepts. However, much of the current Gothic cathedral was built during the 14th century under Bishop Stapledon.
The document discusses different artistic styles throughout history and how they reflected beliefs and spirituality. Byzantine architecture used mosaics and stylized symbolism to convey perceived spirituality. Gothic cathedrals featured stained glass windows and flying buttresses and served as encyclopedias of Christian meaning by using their architectural designs to transmit spiritual messages. Different artistic eras reflected the dominant beliefs and societies of their time through their artistic styles and designs.
Major pilgrimage roads developed in Western Europe, inspiring new architectural forms. Pilgrims flocked to relics of saints housed in elaborate reliquaries. Romanesque churches featured iconic Last Judgment scenes on entryways, depicting heaven, hell, and judgment. Sculpture and tapestries further illustrated biblical narratives, with the Bayeux Tapestry uniquely capturing the Norman invasion of England through woven scenes.
Exeter Cathedral is located in Exeter, Devon, England. It is the seat of the Bishop of Exeter and parts of the cathedral date back to the 11th century, including its towers and transepts. However, much of the current Gothic cathedral was built during the 14th century under Bishop Stapledon.
The document discusses several key aspects of the filmmaking process. It explains that films are designed to affect viewers and are a collaborative medium created through the combined efforts of filmmakers, technology, and corporations. It also addresses the creative decisions involved in filmmaking, including choices around style and form, and how these decisions can engage viewers. Additionally, it provides an overview of the technological mechanisms that make cinema possible, such as critical flicker fusion and apparent motion, as well as the various production modes, distribution methods, and exhibition formats used in the film industry.
The document provides descriptions and images of various architectural features, artworks, and manuscripts from medieval Europe. Some of the topics covered include barrel vaults, groin vaults and half-barrel vaults; the Abbey at Cluny; reliquaries from various locations; Cistercian abbeys; cathedrals in Pisa, Milan, and Speyer; Romanesque churches from France and Italy; Dover Castle; the south portal of the Priory Church of Saint-Pierre in Moissac; sculptures on the cathedrals of Modena and Moissac; illuminated manuscripts including the Liber Scivias, Book of Homilies, Winchester Psalter and an Explanatio In
The document provides an overview of key concepts, terms, and monuments related to five major world religions: Hinduism, Judaism, Buddhism, Christianity, and Islam. It includes brief historical timelines for each religion and highlights of their major beliefs. Examples of important religious art and architecture are discussed, such as Shiva as Nataraja, the House Synagogue at Dura Europos, the Great Stupa at Sanchi, the Pantokrator Christ at St. Catherine's Monastery, and the Dome of the Rock in Jerusalem.
The late 14th century in Europe saw immense hardship and instability due to factors like the Black Death plague, famine, and the Hundred Years War. This period known as the "Four Horsemen" devastated the population. However, the arts began to gradually flourish with the rise of the middle class who had more wealth and education. Artworks from this period like Giotto's paintings showed more realistic and natural figures, laying the foundations for developments in realism and humanism that would characterize the Renaissance. This late Gothic period is sometimes called the Proto-Renaissance, as it set the stage for the artistic transformations that would follow.
The document summarizes medieval art in Europe after the fall of the Roman Empire, including:
1) "Barbarian" art that fused Celtic, Germanic, and Greco-Roman influences and featured abstract, zoomorphic designs.
2) Hiberno-Saxon art that flourished in Irish and English monasteries, exemplified by intricately illuminated manuscripts like the Book of Kells.
3) Carolingian art under Charlemagne that emulated Roman models and revived book production.
This document discusses Romanesque art from 1000-1150 CE, focusing on pilgrimage sites and relics. During this period, pilgrimages to holy sites housing important relics became very popular as people sought spiritual fulfillment and salvation. Major pilgrimage churches were built, such as the Cathedral of Santiago de Compostela which contained the relics of St. James and attracted Christian pilgrims along established pilgrimage routes. Reliquaries and sculptures depicted saints and were venerated by pilgrims seeking blessings or miracles. The Crusades also contributed to interest in pilgrimages and relics as part of medieval Christian devotion and worship.
This document discusses various methods artists use to tell narratives through images alone. It begins by defining key terms like ut pictura poesis and discussing monumental artworks that employ narrative techniques. It then describes six methods: monoscenic presents one scene; sequential uses ordered scenes; continuous uses repeating figures; synoptic includes multiple scenes; simultaneous uses symbols; and autonomous creates a narrative without text for the audience to interpret. Examples like The Raft of the Medusa demonstrate each technique.
The document provides an overview of Gothic architecture in Europe between the 12th and 14th centuries. It began in France and spread throughout Western Europe, characterized by soaring heights, pointed arches, rib vaults, flying buttresses, and stained glass windows to illuminate vast interior spaces. Gothic cathedrals featured elaborate sculptures and stained glass depicting stories from the Bible and lives of saints, focusing especially on the Virgin Mary. The style varied regionally as it disseminated, becoming highly ornamented in France with increasing naturalism, emphasizing civic pride and classical influence in Italy.
The document summarizes Gothic art of the 12th and 13th centuries in France, England, Germany, and Italy. Key innovations included stained glass windows, flying buttresses, rib vaulting, and pointed arches, which allowed for taller buildings with more light. Abbot Suger at Saint-Denis pioneered these Gothic styles focused on light and height to inspire spirituality. Gothic architecture then spread with regional variations to other countries like ribbed vaults developing further in England and sculpture gaining independence in Germany.
Gothic architecture originated in northern France in the 12th century and spread across Europe. Some key aspects include ribbed vaulting, pointed arches, flying buttresses, rose windows, and elaborate façades with statues. Famous Gothic cathedrals include Notre Dame and Chartres in France, which feature extensive use of stained glass, and Reims, Amiens, and Salisbury Cathedrals in England. Gothic architecture reached its peak in the high Gothic period of the 13th century and declined thereafter.
The document provides an overview of Romanesque art between 1050-1200 AD. It discusses the rise of churches during this period due to growing pilgrimages across Europe. Architecturally, Romanesque buildings featured stone vaulting, barrel and groin vaults, arcades, and round arches borrowed from Roman designs. Sculpture of this era focused on religious narratives and relics to educate the largely illiterate populations and attract pilgrims.
The document discusses the Medieval Period, characterized by feudalism and the power of the Catholic Church. It describes various forms of art from this period like stained glass windows, sculptures, illuminated manuscripts, paintings, and tapestries. These art forms served to teach religion through visual stories and images to those who could not read. The art had distinctive characteristics like religious subjects portrayed with flat, stiff figures in vibrant colors against plain backgrounds.
The document discusses Gothic sculpture at Chartres Cathedral, focusing on how it evolved towards greater naturalism from the Early Gothic to High Gothic periods. The west portal from 1134 shows the earliest Gothic sculpture, with elongated figures dressed in drapery resembling Greek Archaic statues. Later portals featured more animated figures, like those on the south portal completed last. The increasing naturalism and human qualities reflected new ideas from Chartres University influenced by Aristotle and classical learning, known as Gothic Humanism.
This document summarizes early medieval art in Anglo-Saxon England, Hiberno-Saxon Ireland, and Carolingian Europe between the 4th and 10th centuries AD. It features examples of illuminated manuscripts, metalwork, and architecture from this period, including pages from the Book of Kells, Lindisfarne Gospels, and Coronation Gospels as well as the golden buckle from Sutton Hoo and the Palatine Chapel in Aachen. The artistic styles of interlace patterns, animal motifs, and repousse metalwork that characterized the period are also mentioned.
The document discusses several key aspects of the filmmaking process. It explains that films are designed to affect viewers and are a collaborative medium created through the combined efforts of filmmakers, technology, and corporations. It also addresses the creative decisions involved in filmmaking, including choices around style and form, and how these decisions can engage viewers. Additionally, it provides an overview of the technological mechanisms that make cinema possible, such as critical flicker fusion and apparent motion, as well as the various production modes, distribution methods, and exhibition formats used in the film industry.
The document provides descriptions and images of various architectural features, artworks, and manuscripts from medieval Europe. Some of the topics covered include barrel vaults, groin vaults and half-barrel vaults; the Abbey at Cluny; reliquaries from various locations; Cistercian abbeys; cathedrals in Pisa, Milan, and Speyer; Romanesque churches from France and Italy; Dover Castle; the south portal of the Priory Church of Saint-Pierre in Moissac; sculptures on the cathedrals of Modena and Moissac; illuminated manuscripts including the Liber Scivias, Book of Homilies, Winchester Psalter and an Explanatio In
The document provides an overview of key concepts, terms, and monuments related to five major world religions: Hinduism, Judaism, Buddhism, Christianity, and Islam. It includes brief historical timelines for each religion and highlights of their major beliefs. Examples of important religious art and architecture are discussed, such as Shiva as Nataraja, the House Synagogue at Dura Europos, the Great Stupa at Sanchi, the Pantokrator Christ at St. Catherine's Monastery, and the Dome of the Rock in Jerusalem.
The late 14th century in Europe saw immense hardship and instability due to factors like the Black Death plague, famine, and the Hundred Years War. This period known as the "Four Horsemen" devastated the population. However, the arts began to gradually flourish with the rise of the middle class who had more wealth and education. Artworks from this period like Giotto's paintings showed more realistic and natural figures, laying the foundations for developments in realism and humanism that would characterize the Renaissance. This late Gothic period is sometimes called the Proto-Renaissance, as it set the stage for the artistic transformations that would follow.
The document summarizes medieval art in Europe after the fall of the Roman Empire, including:
1) "Barbarian" art that fused Celtic, Germanic, and Greco-Roman influences and featured abstract, zoomorphic designs.
2) Hiberno-Saxon art that flourished in Irish and English monasteries, exemplified by intricately illuminated manuscripts like the Book of Kells.
3) Carolingian art under Charlemagne that emulated Roman models and revived book production.
This document discusses Romanesque art from 1000-1150 CE, focusing on pilgrimage sites and relics. During this period, pilgrimages to holy sites housing important relics became very popular as people sought spiritual fulfillment and salvation. Major pilgrimage churches were built, such as the Cathedral of Santiago de Compostela which contained the relics of St. James and attracted Christian pilgrims along established pilgrimage routes. Reliquaries and sculptures depicted saints and were venerated by pilgrims seeking blessings or miracles. The Crusades also contributed to interest in pilgrimages and relics as part of medieval Christian devotion and worship.
This document discusses various methods artists use to tell narratives through images alone. It begins by defining key terms like ut pictura poesis and discussing monumental artworks that employ narrative techniques. It then describes six methods: monoscenic presents one scene; sequential uses ordered scenes; continuous uses repeating figures; synoptic includes multiple scenes; simultaneous uses symbols; and autonomous creates a narrative without text for the audience to interpret. Examples like The Raft of the Medusa demonstrate each technique.
The document provides an overview of Gothic architecture in Europe between the 12th and 14th centuries. It began in France and spread throughout Western Europe, characterized by soaring heights, pointed arches, rib vaults, flying buttresses, and stained glass windows to illuminate vast interior spaces. Gothic cathedrals featured elaborate sculptures and stained glass depicting stories from the Bible and lives of saints, focusing especially on the Virgin Mary. The style varied regionally as it disseminated, becoming highly ornamented in France with increasing naturalism, emphasizing civic pride and classical influence in Italy.
The document summarizes Gothic art of the 12th and 13th centuries in France, England, Germany, and Italy. Key innovations included stained glass windows, flying buttresses, rib vaulting, and pointed arches, which allowed for taller buildings with more light. Abbot Suger at Saint-Denis pioneered these Gothic styles focused on light and height to inspire spirituality. Gothic architecture then spread with regional variations to other countries like ribbed vaults developing further in England and sculpture gaining independence in Germany.
Gothic architecture originated in northern France in the 12th century and spread across Europe. Some key aspects include ribbed vaulting, pointed arches, flying buttresses, rose windows, and elaborate façades with statues. Famous Gothic cathedrals include Notre Dame and Chartres in France, which feature extensive use of stained glass, and Reims, Amiens, and Salisbury Cathedrals in England. Gothic architecture reached its peak in the high Gothic period of the 13th century and declined thereafter.
The document provides an overview of Romanesque art between 1050-1200 AD. It discusses the rise of churches during this period due to growing pilgrimages across Europe. Architecturally, Romanesque buildings featured stone vaulting, barrel and groin vaults, arcades, and round arches borrowed from Roman designs. Sculpture of this era focused on religious narratives and relics to educate the largely illiterate populations and attract pilgrims.
The document discusses the Medieval Period, characterized by feudalism and the power of the Catholic Church. It describes various forms of art from this period like stained glass windows, sculptures, illuminated manuscripts, paintings, and tapestries. These art forms served to teach religion through visual stories and images to those who could not read. The art had distinctive characteristics like religious subjects portrayed with flat, stiff figures in vibrant colors against plain backgrounds.
The document discusses Gothic sculpture at Chartres Cathedral, focusing on how it evolved towards greater naturalism from the Early Gothic to High Gothic periods. The west portal from 1134 shows the earliest Gothic sculpture, with elongated figures dressed in drapery resembling Greek Archaic statues. Later portals featured more animated figures, like those on the south portal completed last. The increasing naturalism and human qualities reflected new ideas from Chartres University influenced by Aristotle and classical learning, known as Gothic Humanism.
This document summarizes early medieval art in Anglo-Saxon England, Hiberno-Saxon Ireland, and Carolingian Europe between the 4th and 10th centuries AD. It features examples of illuminated manuscripts, metalwork, and architecture from this period, including pages from the Book of Kells, Lindisfarne Gospels, and Coronation Gospels as well as the golden buckle from Sutton Hoo and the Palatine Chapel in Aachen. The artistic styles of interlace patterns, animal motifs, and repousse metalwork that characterized the period are also mentioned.
This document discusses representations of Saint Jerome in the wilderness in German Renaissance art, and explores related themes of astrology, the afterlife, and penance. It presents numerous images from the 15th-16th centuries depicting Saint Jerome by artists like Dürer and Cranach, as well as epitaphs and manuscripts touching on astrology and the soul's journey after death.
1. De administratione, 174. Portarum quisquis attollere queris honorem, Aurum nec sumptus operis mirare laborem. Nobile claret opus, sed opus, quod nobile claret, Clarificet mentes, ut eant per lumina uera Ad uerum lumen, ubi Christus ianua uera. Quale sit intus, in his determinat aurea porta. Mens hebes ad uerum per materialia surgit Et demersa prius hac uisa luce resurgit. Bárki, ha azt kutatod, mi ad értéket: kapuinknak Munkáját nézd, árát és aranyát ne csodáljad. Fénylik a mű nemesen, és melynek fénye nemes, Töltse be fénnyel az elmét, hogy igaz fény útja nyomában Menjen előre igaz fényig, hol igaz kapu Krisztus. Jelzi emitt az aranykapu hűen, hogy milyen ott benn, Mert anyag által lustán hág fel az ész a magasba, És a letört föltámad láttán ennek a fénynek.
2. Kaisareiai Prokopios: Περὶ κρισμάτων (Az épületekről) 1,1,29–30 ἐπεὶ καὶ τοῦ ξυνειθισμένου κομπωδεστέρα καὶ τοῦ ἀμέτρου κοσμιωτέρα ἐπιεικῶς ἐστι, φωτι δὲ καὶ ἡλίου μαρμαρυγαῖς ὑπερφυῶς πλήθει. φαίης ἂν οὐκ ἔξωθεν καταλάμπεσθαι ἡλίῳ τὸν χῶρον‚ ἀλλὰ τὴν αἴγλην ἐν αὐτῷ φύεσθαι․ τοσαύτη τις φωτὸς περιοσία ἐς τοῦτο δὴ τὸ ἱερὸν περικέχυται Csillogás és a méretek összhangja ékítik, nincs benne semmiből sem túl sok vagy túl kevés …; fényben és napsugarakban azonban bővelkedik. Úgy vélhetnénk ugyanis, hogy a helyet nem kívülről világítja meg a nap, hanem önmagától kapja a világosságát , olyan bőséggel árad szét a szentély fölött a fény
4. De administratione, 181 Pars noua posterior dum iungitur anteriori, Aula micat medio clarificata suo. Claret enim claris quod clare concopulatur, Et quod perfundit lux noua, claret opus Nobile, quod constat auctum sub tempore nostro. Qui Sugerus eram, me duce dum fieret. Miközben az új rész mint későbbi a korábbihoz kapcsolódik, Csillog a csarnok, mely közepén van megvilágítva. Mert fénylik az, ami fényesen a fénylővel egyesül, És mivel új fény árasztja el, fénylik a nemes mű, Mely fennáll, a mi időnkben gyarapítottan. Én Suger vagyok az, akinek a vezetése alatt ez végbement. Majd ha az új hátsó részt és elejét egyesítjük, Fényes a csarnok már, tündöklik közepén. Mert fénylik, ha a fényeshez kötöd azt, ami fénylő, És új fényárban fénylik a mű nemesen, Mely kormányzásunk idején épült fel egészen, És aki élén állt, én vagyok az, Sugerus. Róma, Sant'Agnese VIRGINIS AULA MICAT Róma, SS. Cosma e Damiano AULA DEI CLARIS RADIAT SEPCIOSA METALLIS IN QUA PLUS FIDEI LUX PRETIOSA MICAT Róma, S. Pietro INGREDERIS QUISQUIS RADIANTIS LIMINA TEMPLI, IN VARIA[S] OPERUM SPECIES DUM LUMINA TENDIS, INCLUS[UM] MIRARE DIEM FULGORE PERENNI. CUNCTA MICANT, SI LUX TOTA LUMINATUR IN AULA.
5. Aquitániai Prosperus: Epigr. 36,3 Claret opus Domini totam qui construit aulam Venantius Fortunatus: Carm. 1,1,11 Emicat aula potens, solido perfecta metallo, Quo sine nocte manet continuata dies. Invicat locus ipse deum sub luce perenni
6. De administratione, 174. Portarum quisquis attollere queris honorem, Aurum nec sumptus operis mirare laborem. Nobile claret opus, sed opus, quod nobile claret, Clarificet mentes, ut eant per lumina uera Ad uerum lumen, ubi Christus ianua uera. Quale sit intus, in his determinat aurea porta. Mens hebes ad uerum per materialia surgit Et demersa prius hac uisa luce resurgit. Bárki, ha azt kutatod, mi ad értéket: kapuinknak Munkáját nézd, árát és aranyát ne csodáljad. Fénylik a mű nemesen, és melynek fénye nemes, Töltse be fénnyel az elmét, hogy igaz fény útja nyomában Menjen előre igaz fényig, hol igaz kapu Krisztus. Jelzi emitt az aranykapu hűen, hogy milyen ott benn, Mert anyag által lustán hág fel az ész a magasba, És a letört föltámad láttán ennek a fénynek.
7. I Io 1,5 Et haec est adnuntiatio quam audivimus ab eo et adnuntiamus vobis Quoniam Deus lux est et tenebrae in eo non sunt ullae Az üzenet, amelyet tőle hallottunk és nektek hirdetünk, ez: Az Isten világosság, és nincs benne semmi sötétség Io 1,9 Erat lux vera quae inluminat omnem hominem venientem in mundum [Az Ige] volt az igazi világosság, amely minden embert megvilágosít I Io 2,8 Iterum mandatum novum scribo vobis Quod est verum et in ipso et in vobis Quoniam tenebrae transeunt et lumen verum iam lucet Másfelől mégis új parancsról írok nektek. Ez benne és bennetek igaz, Hiszen már oszladozik a sötétség és világít az igazi világosság.
8. De administratione, 224 Vnde cum ex dilectione decoris domus Dei aliquando multicolor gemmarum speciositas ab extrinsecis me curis deuocaret, sanctarum etiam diuersitatem uirtutum de materialibus ad inmaterialia transferendo honesta meditatio insistere persuaderet, uideor uidere me quasi sub aliqua extranea orbis terrarum plaga, que nec tota sit in terrarum fece, nec tota in celi puritate, demorari, ab hac etiam inferiori ad illam superiorem anagogico more Deo donante posse transferri. Ezért, midőn Isten házának díszítése iránti szere-tetből a drágakövek sokszínű szépsége olykor elvont a külső gondoktól, és tisztes szemlélődésre bírt, hogy a szent erények különbözőségeit az anyagi dolgokról a szellemiekre vigyem át, úgy tetszett, mintha látnám időzni magamat a világnak valamely távoli részén, mely nincsen egészen a föld mocskában, sem teljesen az égi tisztaságban, s Isten kegyelméből ebből az alsóbb szférából anagogikus módon át tudnék kerülni a magasabb rendűbe.
