ANSWERING EXAM QUESTIONS FOR MODULES 1 + 2:
THE NATURE AND PURPOSE OF RELIGIOUS ART
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In general, for both (A) and (B) questions, remember to describe art objects, and art pieces,
satisfactorily enough to make it clear what the art looks like and so that the points you make sense.
Also, define key concepts (e.g. evocation, invocation, Christian meditation, illumination, as they arise)
ANSWERING (A) QUESTIONS
How to answer questions about the EDUCATIONAL / DIDACTIC function of religious art:
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For (A) questions use the six Christian art objects we looked at – not particular art pieces as
something like ‘God creates Adam’ and ‘The Christ We Share’ all count as one art object:
paintings; you’ll end up losing marks by referring to particular pieces as you restrict your range.
All of the art objects we looked at include a ‘didactic’ function.
Write about four / five of these – but with the focus on how each art object uniquely creates
understanding of a religion.
By uniquely we mean explain the different ways each specific art object helps to educate a
worshipper about their religion.
This means you should refer to the following things:
THE ART OBJECT
The Stations of the Cross
THE PARTICULAR WAY IT EDUCATES AN OBSERVER
Christian meditation – this involves emotion, thought and
imagination to increase empathy and understanding of Jesus’
sacrifice and suffering.
Icons
Signification - the way features of the subject being depicted in
icons tell us something about them (give the example of St.
Nicholas)
Symbols
The representation of divine truths – give an example like
the Ichtus (fish), or how it tells us different things about
scripture and the history of Christianity. (Note that if talking
about the cross and crucifix, you must include both and explain
the difference – resurrection and sacrifice)
Cruciform Architecture
The importance attributed to particular features – with
cruciform architecture the symbolic head is the most important
part of the church, symbolising wisdom and the word of God,
explain how this is shown e.g. perspective from the narthex,
where the head is built, the structure of the liturgy.
Day of the Dead Festival
The merging of traditions – the history of different traditions,
here the Catholic and Aztec, as shown through the art of the
festival. Pick examples which show this e.g. marigold cross,
three calaveras (skeletons) representing the Trinity on the altar,
symbolic colours that cover both traditions.
Illuminated Manuscripts
Evoking divinity through art – this is the purpose of
‘illumination’ in illuminated manuscripts, it shows us how special
the words contained in the scripture are.
ANSWERING (A) QUESTIONS cont…
How to answer questions about the inducing of RELIGIOUS EXPERIENCE by religious art:
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All of the art objects we looked at help to induce (bring forth) religious experience.
Write about four / five of these – but with the focus on how each art object uniquely
contributes to religious experience.
By uniquely we mean explain the different ways each specific art object helps a worshipper attain
a religious experience.
Note that since you are aiming to show the different ways you should include five art objects but
within this five, discuss either the Stations or Icons, but not both, as they are too similar.
This means you should refer to the following things:
THE ART OBJECT
The Stations of the Cross
THE PARTICULAR WAY IT EDUCATES AN OBSERVER
Christian meditation – this involves emotion, thought and imagination
to enter communication with God (it is a type of prayer); with the Stations
this increases empathy and understanding with Jesus as the Son of God
who suffered for us. This can be private prayer or communal worship
if performed as part of corporate worship (e.g. led by a priest on Good
Friday).
Evocation – observers are reminded of the great sacrifices of Jesus
Icons
Christian meditation – this involves emotion, thought and imagination
to enter communication with God (it is a type of prayer); with Icons the
artist is blessed by the Holy Spirit and invoked into creating the art
piece, the observer can share in being blessed by the Holy Spirit by
praying through the image using Christian meditation.
Evocation – observers are reminded of the religious subjects depicted
(explain with reference to St. Nicholas)
Symbols
Inspirational sense of Identity – Symbols like Ichtus (fish) help
worshippers to feel strong emotions about their past persecution and a
strong sense of identity in the way the symbol was used (explain how it
was used)
Cruciform Architecture
Helps us to experience the liturgy, not merely perform it – the
church is structured so that we move through Christ’s symbolic body to
his symbolic head as we perform the liturgy of Holy Communion
(describe the features, eg. Narthex as feet, nave as legs etc); the point
is we go to God rather than waiting for God to come to us.
Day of the Dead Festival
Unifying worshippers – this festival falls on officially sanctioned holy
days of the Catholic Church (All Souls and All Saints Day – Nov 1 and
2); the religious experience of communal worship, or being part of a
religious community and of partaking in the historical traditions of both
the Catholics and Aztecs. Pick examples which show this e.g. marigold
cross, three calaveras (skeletons) representing the Trinity on the altar,
symbolic colours that cover both traditions.
Illuminated Manuscripts
Evoking divinity through art – this is the purpose of ‘illumination’ in
illuminated manuscripts, it allows us to experience the divinity of God’s
words, not merely read them.
Invocation for the artist – the way the monk’s read the words aloud as
they created the manuscripts over a two year period was a form of
meditation which was a form of prayer; communication with God, feeling
as with they were receiving divine revelation directly.
ANSWERING (B) QUESTIONS
The (B) question is worth 15 marks, but is harder as you will need to be able to come up with at least
two conflict points that have been properly demonstrated with examples, and a conclusion
which summarises your answer to the question.
What do we mean by ‘conflict points’?
Here is an example (B) question: ‘To what extent is religious art a valid way of providing religious
teaching?’
Each conflict point in your answer would provide both a supporting argument (a pro) and a challenge
(a con) to the claim that religious art provides a valid way of providing religious teaching.
For example, here is one conflict point:
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Support (Pro): Religious art can help a worshipper to visualise a story or religious figure through the
use of Christian meditation. This involves observers using their imagination and emotions to throw
themselves into the scene depicted in the artwork. This helps them to gain a further understanding of
these religious subjects as the observer recognises a deeper divine significance through the artwork.
For example, with the Stations of the Cross observers imagine that they are an observer in each of the
14 images that depict Jesus on his journey towards his crucifixion and death. By physically moving along
the walls of the church, on which each of the Stations are mounted, and by reciting emotive prayers,
worshippers can immerse themselves in these scenes and empathise with Jesus’ suffering to a greater
extent than by merely reading about it.
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Challenge (Con): However, some might argue that Christian meditation is not a valid way of providing
religious teaching since some worshippers may use it inappropriately – imagining themselves to be Jesus
on his journey towards crucifixion (which is blasphemous), rather than imagining themselves as mere
observers in each image. Also, such meditation could lead to idol worship – rather than worshipping the
divine through the artwork, they might end up worshipping the images themselves, as if they are
automatically divine. This is the iconoclastic view of most protestant churches who either reject or limit
the use of religious art in worship.
The above support and challenge constitutes one conflict point, and you will need at least one more such
conflict point (with relevant examples) and then a conclusion, in order to get top marks.
Note that with the above example conflict point, only one example was used to demonstrate both sides of the
argument – this is fine. As long as both sides of the argument are illustrated in some way through the use of an
example you will get a high mark.
The following pages show the different art pieces we have looked at on this course and that you can
use to answer such questions as:
(b) To what extent would you agree that the main purpose of religious art is to represent the
divine?
(b) Assess the view that the true significance of religious art can be understood only by a
religious believer.
(b) Assess the view that worship does not require visual art.
(b) To what extent is religious art a valid way of providing religious teaching?
Examples of Religious Art pieces for use in (B) questions
Remember the definition of ‘religious art’ as given below, this should help you remember which other
pieces you can refer to, so you don’t misuse ‘institutional’ art pieces by accident.
Brief definition of religious art for use in the exam:
o Art which reflects the system of a religious tradition’s belief, in both its public and social context.
o Art that is found in (or as) that tradition’s place of worship, scripture, festivals and the homes of
believers.
The following are example Religious Art pieces that might be useful in demonstrating the points you raise
in the ‘assess’ / (B) question for Modules 1 and 2.
o Remember, you MUST BE ABLE TO NAME AND DESCRIBE ANY ART PIECE YOU REFER TO.
Title: ‘A School of Athens’ by Raphael
Description:
A fine art piece that depicts famous Greek philosophers
gathered and conversing in a university. The sky is covered
by the ceiling, meaning there is no light shining upon them.
This is supposed to suggest that while they should be
respected, they were unenlightened as they were not blessed
by God.
When it might be referred to:
o An example of religion engaging with reason.
o Propaganda – it privileges religion over philosophy.
o Acknowledgement of alternative sources of knowledge.
Title: ‘God creates Adam’ by Michelangelo
Description:
When it might be referred to:
Title: ‘Jesus of the People’ by Janet McKenzie
Description:
When it might be referred to:
Title: ‘The Christ We Share’ series, by various artists around the world.
Description:
‘The Christ we Share’ are a series of images that places the figure of Jesus in different cultural aesthetics from
across the world. For example:
When it might be referred to:
Title: Islamic gardens and Islamic illuminated manuscripts
Description:
o Non-figurative art – no religious subjects are directly depicted.
o The symmetry of patterns and the arrangement of objects
symbolises the wholeness and perfection or God.
o Scripture is illuminated through rich colours, calligraphy and patterns
– this is intended to draw out the divine essence of God’s word.
When it might be referred to:
>>> Example art pieces to use for the (B) question<<<
Examples of Institutional Art pieces
Institutional art – considers art as an established institution in itself; art that is found in galleries,
museums, or as performances. (This is not counted as religious art)
It is very important to note that the following examples DO NOT COUNT AS RELIGIOUS ART.
o These art pieces may incorporate religious imagery, but they are considered to be institutional art
pieces – meaning they are secular.
o They use religious imagery in a detached way, often making a comment or critique of religion rather
than attempting to adequately represent the divine.
Title: ‘Siren’ by Marc Quinn (2008)
Description:
When it might be referred to:
Title: ‘The Real Thing’ Cross by David Poston (2004)
Description:
When it might be referred to:
Title: ‘Piss Christ’ by Andres Serrano (1989)
Description:
A photograph with a distinctly gold tint, it depicts a small plastic crucifix
submerged in a glass of the artist's urine.
When it might be referred to:
Title: ‘Jesus Christ $9.98’ by Andy Warhol (1985-86)
Description:
When it might be referred to:
Title: ‘New Religion’ exhibition by Damien Hirst (2007)
Description:
When it might be referred to:
Title: ‘Fountain’ by Marcel Duchamp (1917)
Description:
Duchamp’s ‘Fountain’ is a “ready-made” – a pre-existing white
urinal that was exhibited in a gallery and signed with a fake name.
When it might be referred to: