Illuminated Manuscripts
‘Manuscript’ Latin and means handwritten.
Many Medieval monks were involved in a laborious process which could take months or
years, to copy out the Bible by hand. Most of the work was produced on vellum which was
made from deer-skin; a large manuscript might use one whole cow to produce 3 or 4
sheets of paper, and a thick book could require the hides of whole herds. This meant that
such books where very expensive.
"[Antony] so closely listened to what he heard read that he missed nothing and
remembered everything, because of this memory he had no need of books" (Athanasius,
Vita 3). This quote is basically saying that the written word means less than actually
knowing the words. A monk who had to depend on the written word was lesser than one
who knew it by heart. Yet, all the knowledge that monks gained came from written
documents. In other words, the task of writing out the Bible was not just a decorative
task, but one in which the monk could truly learn the Bible word for word, therefore
having no need on the written word. Because of the way the Bibles were copied, often by
a monk working alone, mistakes often happened. In York there is evidence of this, when
the translators of the Bible working on the story of Moses translated ‘his face was shining’,
as ‘he had horns on his forehead’. and that mistake is immortalised in stained-glass which
we will hopefully see at the Minster.
Some manuscripts were made even more precious by ‘illumination’. This term comes from
the Latin word for ‘lit up’ or ‘enlightened’ and refers to the use of bright colours and gold
to embellish initial letters or to portray entire scenes. Sometimes the initials were purely
decorative, but often they work with the text to mark important passages, or to enhance
or comment on the meaning of the text.
Icon
Art historians use the term ‘icons’ much narrower than the Greek Eikon which it derives
from. The earlier greek term includes all images. But the modern understanding is an
image painted on a panel. The earliest surviving icon’s date from the 6th Century, although
it is clear they existed earlier than this (200AD). The portrait in the icon is crucial as it is
believed to be an accurate representation of the figure, which is why they are painted
today as they were when they were first painted. Icons are found mainly within Greek
Orthodox, and some in Catholicism. Protestantism rejected the idea of icons believing
them to be blasphemous and idolatrous and against the true meaning of Christianity.
The concept of God incarnate (Jesus), the central Christian belief, is most symbolically
represented in the Orthodox conception of icons; Jesus with Mary, Jesus incarnate. Icons
are not mere depictions of religious events or venerable figures; they are artistic
revelations of the Incarnation itself. Flat and ornately designed, icons do not resemble
objects as they are in nature but rather as they might be after having undergone divine
transformation. At once physical and transfigured, icons provide the faithful with a
glimpse of the spiritual world. In the ninth century there was a movement by people
within Orthodoxy itself to purge the Church of icons; these Iconoclasts were unsuccessful,
and the veneration of icons became one of the enduring hallmarks of Orthodox religious
practice. The annual feast of Orthodoxy itself celebrates this achievement.
The iconography of Orthodoxy also constitutes a repudiation of the value of naturalistic,
three-dimensional images that adorn Roman Catholic churches. Such images resemble the
human figure as it is in nature and in this respect are incapable of serving as mystical signs
of the mystery of the Incarnation and signals of a transfigured state. Icons are venerated
precisely because they are a means whereby the faithful come to regard themselves as
made in the image of God.
Central to the practice of Orthodoxy is the notion of deification (theosis). The symbolic
and mystical character of the Church's rituals serves as a reminder of the ultimate
sanctification of human life. Through communion in the Church and participation in the
liturgy, human life itself is transfigured, transformed, by the grace of God, into a divine
nature. This deification is the ultimate promise of Christ's redemption because, according
to Orthodox belief, it makes people like God and signals the victory over death.
Illustrations
Religious texts, particularly the illustrated manuscripts, are filled with illustrations which
hold symbolic meaning. Whether religious people, or representations of earth, animal,
heaven, or flowers. Modern illustrations continue to hold religious symbolism and
meaning. In some cases the illustrations are provided to add to the story, or in some cases
tell the story itself. Not all illustrations are within religious texts, but all include a
message.
Meaning of Colors in Christian Art and religious iconography began, about two centuries
after the death of Jesus Christ. Meaning of Colors in Christian Art and religious
iconography was originally based on the classical art styles and imagery used by the
Ancient Greeks and the Ancient Romans. In the period encompassing Medieval art
iconography began to be standardised and to relate more closely to the texts found in the
Bible and became the basis for many of the images found in Meaning of Colors in Christian
Art
The The Symbolism of Colors represent many different items of sacred significance. The
meaning of the different are highly significant and are detailed as follows:
White symbolizes Purity, virginity, innocence and virtue. It also symbolises holiness and is
the Christian color for all high Holy Days of the Church Year, especially the seasons of
Christmas and Easter
Yellow colors symbolize renewal, hope, light and purity. Yellow is the Christian color for
the season of Easter when used with white. When taken as an off-white color symbolizes
degradation or cowardice
Orange colors symbolize courage, endurance and strength representing fire and flame
Green colors symbolize nature, fertility, hope and bountifulness. Green symbolizes
freedom from bondage. Green is the Christian color for the season of Epiphany
Red colors symbolize the Holy Spirit and is the color of Pentecost. Red also represents fire
and is associated with power and importance. Crimson red also symbolizes the presence of
God and the blood of martyrs. It is the Christian liturgical color for Pentecost and
represents atonement and humility
Black colors symbolize death, fear and ignorance and was also used to indicate authority
and power. The color black is associated with Good Friday.
Brown colors symbolize the earth, poverty and humility and closely associated with
monastic life
Blue colors symbolize heavenly grace. The Virgin Mary is often depicted wearing blue
clothing. Blue also represents hope, good health and the state of servitude
Purple colors are always associated with Royalty, Purple togas were worn by the powerful
Roman Emperors. The symbolic meaning of the color purple was for penitence and
mourning and is the liturgical color for the seasons of Lent and Advent
Meaning of Flowers in Christian Art and religious iconography began, about two centuries
after the death of Jesus Christ. Meaning of Flowers in Christian Art and religious
iconography was originally based on the classical art styles and imagery used by the
Ancient Greeks and the Ancient Romans. In the period encompassing Medieval art
iconography began to be standardised and to relate more closely to the texts found in the
Bible and became the basis for many of the images found in Meaning of Flowers in
Christian Art
The Anemone Flowers - The Anemone symbolizes the Trinity, sorrow and death
Carnation Flowers - A red carnation symbolizes love
Columbine Flowers - The Columbine symbolizes the Holy Spirit
Daisy - The daisy symbolizes the innocence of the Christ Child.
Dandelion Weeds / Flowers - The dandelion symbolizes Christ's Passion.
Hyacinth - The Hyacinth Symbolizes prudence and peace of mind.
Iris Flowers - The iris Symbolizes the Virgin Mary
Lily - The lily symbolizes purity and the Virgin Mary
Myrtle - The myrtle symbolizes those converted to Christ
Pansy - The Pansy symbolizes remembrance and meditation.
Poppy - A poppy symbolizes sleep or indifference, often used in depictions of the Passion
of Christ
Rose - The Red rose symbolizes martyrdom, a white rose symbolizes purity and a wreath of
roses symbolizes heavenly joy.
Violet Flowers - The violet is a symbol of humility
Propoganda
During the reformation, starting in 1400’s, crude comic strips were created because
literacy rates were low. These forms of communication featured drawings that conveyed
message and included simple, briefs rhymes that enabled peasants to connect the picture
with the desired message. The goals were to take action and change the way things were.
Luther etc
In more recent times Christians have produced material includes doctrine against films and
books such as Harry Potter – Christian version
Furniture
Religious furniture whilst not considered ‘holy’ or ‘sacred’ plays an important role within
Christianity. Publically furniture such as Lecturns, Altars, ceilings, seats and many other
items are finely carved and ornately decorated to show their significance. Lecture for ...
Altar for ... Ceilings because ... Privately; crucifixes, icons and artwork.
Similarly to religious furniture, artefacts such as altar pieces, miserichords (where monks
sat), funeral monuments, church plate, vestments, and so on, whilst not often considered
‘sacred’ have an important role during worship. In many cases they are finely carved or
ornately decorated. The craftsmanship in the work shows their importance and
significance without needing to be identified during worship.
Worship as Art
Singing has long been a part of worship, it is known the early Christians meeting in secret
in Rome in the first century sang together. Whilst singing was accepted, the playing of
instruments was not and seen as the old jewish way.
AQUINAS "Our church does not use musical instruments, as harps and psalteries, to praise
God withal, that she may not seem to Judaize." (Thomas Aquinas, Bingham's Antiquities,
Vol. 3, page 137)
CHRYSOSTOM "David formerly sang songs, also today we sing hymns. He had a lyre with
lifeless strings, the church has a lyre with living strings. Our tongues are the strings of the
lyre with a different tone indeed but much more in accordance with piety. Here there is
no need for the cithara, or for stretched strings, or for the plectrum, or for art, or for any
instrument; but, if you like, you may yourself become a cithara, mortifying the members
of the flesh and making a full harmony of mind and body. For when the flesh no longer
lusts against the Spirit, but has submitted to its orders and has been led at length into the
best and most admirable path, then will you create a spiritual melody." (Chrysostom, 347407, Exposition of Psalms 41, (381-398 A.D.) Source Readings in Music History, ed. O.
Strunk, W. W. Norton and Co.: New York, 1950, pg. 70.)
In the Bible it says:
John 4:23 "Yet a time is coming and has now come when the true worshipers will worship
the Faith in spirit and truth, for they are the kind of worshipers the Father seeks. God is
spirit and his worshipers must worship in spirit and in truth." 1 Corinthians 10: 31: "So
whether you eat or drink or whatever you do, do it all for
the glory of God."
1 Peter 4:9,10: "Offer hospitality to one another without grumbling. Each one should use
whatever gift he had received to serve others, faithfully administering God's grace in its
various forms."
In Medieval times Carols were not limited to Christmas, but were sung all the year
through, particularly at certain festivals, eg The Medieval Harvest would have echoed with
Harvest Carols sung loudly, only a few remain : We plough the fields and scatter.
Today, dance, and theatre and other visual spectacles have also been adopted into
worship: passion plays, modern theatre, even film: the passion of the Christ.