Symbolism in Medieval Art

symbolization in knightly ArtEVE IN MEDIEVAL ARTSymbolism in the Medieval period had both theological and amicable meanings, and the figure of even demonstrates how these two kinds of meanings coexisted in a single symbolic form. Medieval symbolisation al near always occurred in art that was fit by or for the churches. In religious terms, the art of the Middle Ages was meant to instruct people of tout ensemble classes and to be an aid to prayer and the contemplation of religious ideas. provided, as art historians have begun to point out, this art was to a fault a system of visual signs that can be viewed in terms of type models, social practices, and an encoded look upon system of social mores ( black lovage 1). In strictly theological terms, the character of even, the first cleaning lady, was utilize to symbolize the magnetic dip of the human race. evening ate the fruit of the tree of the knowledge of good and evil and persuaded Adam to eject it as well (Hall 4). This c aused the human race to experience sin and evil. But eve was also used as a symbol of the nature of women, seen as temptresses trying to lead men into sin. On comprehend the figure of Eve as she was presented in Romanesque art, the viewer was reminded of the Fall, nevertheless, depending on how she was depicted, the viewer could also be reminded that women atomic number 18 weak-willed, deceitful seducers who are not to be trusted.The works that will be investigated to support this thesis, is Eve at the tympanum (c. 1125-1150)The theological and the social meanings of the symbol were not completely separate. The perform also seemed interested in promoting this misogynistic idea of women as a social value. But the meanings were separable, in the sense that, when Eve was used as the basic theological symbol of the Fall, the implications about the air of women in common did not have to be part of the symbol.In one sense, Medieval art consisted of a kind of sacred writing in which the identity or uses of certain pictorial elements were widely understood (Mle, Medieval 267). Mle gives the representative of a halo which, when placed behind a persons head, indicates sainthood or holiness. In a more conglomerate example, a naked woman, with or without a snake or a tree, and holding a slicing of fruit, would be known to be Eve. These particular attributes would be given to her when the temptation of Eve by friction match (and/or Eves temptation of Adam if he was present) was the subject being plantnbut Eve could be shown in opposite situations as well.Medieval art is also a symbolic code, and, since the earliest times, Christian art had talk in figures, showing men one thing and inviting them to see in it the figure of another (Mle, Medieval 272). This means that, once the viewer identified Eves Temptation by her attributes of nakedness, the tree, the snake, and the fruit, then the viewer could move on to the understanding of what Eve, in this situation, sym bolized. She symbolized the Fall of the human race, which was, because of her actions, condemned to suffering, pain, death, and sin. The human race could not be redeemed until rescuer suffered and died for all humanity and provided the means of obtaining, through the Church, eternal salvation. Thus, in its plain theological use, the figure of Eve was connected to the mission of the Church because her actions were responsible for making the Church necessary. For this reason, Medieval artists (or the people who planned the art of the churches) saw the Temptation as a foreshadowing of the Annunciation in which the Virgin bloody shame, as the unexampled Eve, redeemed the sin of the old Eve (Hall 5).Petzold provides an example of this symbolic pairing of Eve and the Virgin bloody shame in Romanesque art. This is the sculpture on the tympanum (c. 1125-1150) over the doorway at the church of Neuilly-en-Donjon in France, where tierce interrelated scenes from the Bible show the deuce-ace chief(prenominal) archetypes of women Eve, Mary Magdalen (a reformed adulteress), and the Virgin Mary (Petzold 123). The three women are all shown in relation to a man. In the bottom section of the sculpture (the lintel), Eve turns from the tree to tempt Adam with the fruit, and Mary Magdalen kneels in front of Jesus and anoints his feet and wipes them with her hair (Petzold 123). Above them, the main sculpture shows the Magi worshipping Jesus, who sits on Marys lap. Around Mary and Jesus, angels blow horns celebrating Marys triumph over sin. Mle, commenting on this comparable sculpture, says that symbolically the work meant that woman, through whom sin came into the world Eve and by whom it was perpetuated Mary Magdalen, is at last and forever rehabilitated by the Virgin ( ghostly 431). The same society is made in another French church at Anzy-le-Duc, where the main tympanum sculpture shows the worship of the Magi on one side and Eve tempting Adam on the other. In the lower, l intel portion of the sculpture, heaven is shown beneath the Virgins side, and hell is shown beneath Eve (Mle, Religious 432).These examples carry clear Eves purely theological importance as a symbol clear. But, as Mles report indicated, the Eve-Mary Magdalen-Virgin Mary symbolism had a message about women in general. Women as a group were believed to be prone to sin and to causing sin, especially sexual sin because they tempted men. St. Bernard (1091-1153), who was one of the most influential and silver-tongued orators and writers of his age, emphasized that Eves sin was the sin of all women. He said in a sermon that Eve was the original cause of all evil, whose disgrace has come down to all other women (quoted by Kraus 42). But St. Bernard was also a great promoter of the cult of the Virgin Mary, which was becoming very popular in the twelfth century. And, on the connection between Eve and Mary, he said, Rejoice, Eve, rejoice in such a daughter . . . Opprobrium has been wiped ou t never again can woman be accused (quoted by Mle, Religious 431). But, in actual practice, though they praised Mary, this did not much change the Churchs view of everyday women as being sinful like Eve In the glorification of the Virgin, it was the Woman-Without-Sin, the non-woman Woman, the anti-Eve that was revered (Kraus 46). The extent to which Mary was not like a real woman was considered worthy of praise.Petzold notes that, since this misogynistic view of women was often part of the Churchs message, the symbolism of Eve was expanded so that images of her in art frequently stress her role as a sexual temptress (124). In this role, Eve becomes a symbol of the sinful nature of all women. Her role in theologically important events does not require this interpretation at all (although her feminine weakness was always implied by the Bible story). But, in the Middle Ages, this interpretation of Eve was quite popular. Petzold points out the facsimile of Eve in this character in an other Romanesque church in France, the Autun Cathedral. In a crack of sculpture by Gislebertus from around 1130, Eve is shown naked and nearly lying down, supported only by her knees and one elbow. The position may refer to the story that God punished her by making her weirdie on the ground like the snake who tempted her. But what is most striking about the Autun Eve is that, at a time when nudity was rare in art, the sinuous figure of Eve, with her rounded breasts, is one of the most erotically charged images in Romanesque art, and she is portrayed not so much as a sinner but as a temptress who invites Adam, and by implication men in general, to commit sin (Petzold 125).At this time, the Church was trying to enforce strict celibacy on priests and monks, and stressing the sinfulness of sexual relations and of women in general probably was part of that effort (Petzold 125). But, as Kraus shows, the figure of Eve was the model for the various sculptures of the vice of Unchastity, o r Lust, which one finds on so mevery church facades of the twelfth century and is invariably a woman, piece the typically male vice, on the other hand, is either Pride or Avarice (42). The overall mold of women was of their complete inability to resist their sexual urges and their deep desire to draw men into sin. But, while all this did aid the Church in its attempt to induce celibacy in priests, it was hardly the kind of teach calculated to spread affection for the wives and mothers in the audience (Kraus 44).This is what is meant by the social meanings of Medieval symbolism. As Alexander explains it, these images functioned to provide role models to sections of the Christian community, and the Church used various artistic means to intervene in the society in a variety of contexts (1). adept of the methods that was used was repeating. Mle pointed out how repetition of images ensured that every member of the potential audience would be sufficiently familiar with the various fi gures and their attributes to recognize an Eve with her apple or a saint with her halo (Medieval 267). But, in addition to familiarity with the elements of the stories, the visual messages were hammered piazza by their iconographical similarity until they were taken for granted and thus became an unquestioned part of everyday experience (Alexander 1).One of the most shocking images of Eve is found in a series of relief sculptures showing the project of Adam and Eve from the Garden of Paradise (from the twelfth century, at the French church of Notre-Dame-du-Port, at Clermont-Ferrand). In these sculptures, Adam hurls wailing Eve to the ground, kicks her, and drags her by the hair in a series of realistic gestures that may Maghave been inspired by a religious play, Le Jeu dAdam et Eve, that was performed both inside and outside of many churches (Kraus 44). The connection between such representations of Eve-Woman as deserving of this kind of treatment and an official sanctioning of su ch behavior by men toward their wives is not difficult to make. Some lines of the Adam and Eve play read, Oh, evil woman full of treason / Forever contrary to reason, / Bringing no man good in any season / Our childrens children to the end of time / Will feel the cruel whiplash of your crime (quoted by Kraus 44).St. Bernards sermons, a popular play, and repeated artistic representations of Eve as the source of evil all combine to show how this symbol had a clear social meaning as well as a theological meaning. Though the Church was not the only source of such misogyny, it was an active promoter of the feeling, and the effects of the social meaning of the Eve symbol are, in part, still present today.Works CitedAlexander, Jonathan J. G. Iconography and Ideology Uncovering affable Meanings in Western Medieval Christian Art. Studies in Iconography 15 (1993) 1-44.Hall, James. Subjects and Symbols in Art. 2nd ed. New York Icon-Harper and Row, 1979.Kraus, Henry. The sprightliness Theatre of Medieval Art. Bloomington Indiana UP, 1967.Mle, Emile. Medieval Iconography. Ancient Egypt through the Middle Ages. Vol. 1 of Readings in Art History. New York Scribners Sons, 1969. 265-91.The Twelfth Century A Study in the Origins of Medieval Iconography. Vol. 1 of Religious Art in France. Princeton Princeton UP, 1978.Petzold, Andreas. Romanesque Art. New York Perspectives-Abrams, 1995. K C Research Assistance, Inc., 1997