Examine the distinctive features of religious art in one religion you have studied
The religious art I am going to examine is Christian art. Christian art adapted Greco-Roman pagan imagery to form
images of Christ. Christianity developed out of Judaism and went against Judaism prohibition regarding the making of
images and idols. In Christianity the works of art would depict images of God and this helped to mark out the
developing church as distinct from the religious and cultural identity of Judaism
Architecture is widely used in Christian art and Church’s and Cathedrals have a cruciform design. This emphasises the
importance of the crucifixion, reflects the use of the building and the hierarchy organisation of the church or cathedral.
Also in Baptist chapels the baptistery is placed at the front of the building, this is the show that saviour by faith in Jesus
the world of God is chosen through the sacrament of baptism chosen freely as an adult.
In the places of public worship there are many artefacts which are distinctive characteristics or Christian art. For
example altarpieces, vessels, a crosier, miserichords and reliquaries. The most important being the altarpiece. The
altarpiece is a painting displayed behind the alter which frames the altar as the main place for worship. The altarpieces
reflects the community of believers to the worshipers. An example is the ‘Seven Sacraments Altarpiece' by Roger Van
Der Wegden. This altarpieces educations and inspires people by the uplifting sense of beauty used to compliment and
explain the action of the Eucharist, a Christian doctrine. Vessels are also very important and used to carry the body and
blood of Christ. They are made beautiful in order to celebrate what they contain. Ana example is the Antioch chalice.
This is made in the shape of standing lamps to create a link between Jesus as the 'Light of the World'. Reliquaries are
also a feature of Christian art as people believe that by being in physical proximity to the saint they will cure an illness
or heal a disability. Christians go on pilgrimages in order to encourage a saint to offer prays to God on behalf of them
or someone else they know. Reliquaries also help to keep a tourist trade running. An example of a reliquary is one from
Spain circa 1500. It contains imagery referring to the passion and resurrection. It is made from silver, silver guilt,
emeralds and rock crystals and contains imagery of the passion and resurrection. Religious scholars believe that it once
contained relicts of the passion of the Christ.
One of the most important distinctive characteristics of Christian art is symbolism. The cross is the symbol for
Christianity and reflects the paradox that the death of Jesus became the source of life for all Christians. An example of a
Cross is the Cloisters Cross in the Metropolitan Museum of Art in New York. It is engraved ivory and contains an
image of Adam and Eve (representing humanity) being saved through the life of Jesus. However, the cross also contains
anti-Semitic writings.
In Christian art images of God are used, unlike Judaism and Islam. An example is the Sistine Chapel ceiling by
Michelangelo. It has a picture of God as a human being and is used to show God’s relationship with humanity
AQA Commentary: AO1 (30 marks) Approximately 25 minutes can be allocated to answering this question,
including thinking time.
The candidate has produced an answer that is clear and focussed on the question asked. A wide range of distinctive
features are highlighted and for the most part exemplified. There is no doubting that the candidate has clear knowledge
and understands the thrust of the question. There is breadth of knowledge shown though the depth of knowledge as to
why these features are distinctive is not always discussed. The third paragraph mentions several features but only deals
with some of them in detail. For example the distinctiveness of the ‘altarpiece’ as a distinctive feature of religious art has
been highlighted and there has been some attempt to explain its purpose and location. Further detailed discussion of
this very distinctive feature regarding its location, style and use would have improved the answer. Other artefacts are
mentioned and some are explained, though some are purely mentioned in passing. A smaller selection of distinctive
features, which were then discussed and explained, would have produced a better response.
The structure of the answer is fair to good. However a more logical structure and flow, for example relating the
distinctiveness of the cross in the penultimate paragraph to the cruciform shape of many Christian churches, would have
helped. The answer exceeds the demands for Level 5. The answer given is a fairly thorough treatment of the question
asked and several appropriate examples have been given if not all are explained therefore Level 6 24 marks awarded.
The lack of depth at the expense of breadth stops the answer from attaining the top level.
Level 6 (24 marks)
Examine the distinctive features of religious art in one religion you have studied
The religious art I am going to examine is Christian art. Christian art adapted Greco-Roman pagan imagery to form
images of Christ. Christianity developed out of Judaism and went against Judaism prohibition regarding the making of
images and idols. In Christianity the works of art would depict images of God and this helped to mark out the
developing church as distinct from the religious and cultural identity of Judaism
Architecture is widely used in Christian art and Church’s and Cathedrals have a cruciform design. This emphasises the
importance of the crucifixion, reflects the use of the building and the hierarchy organisation of the church or cathedral.
Also in Baptist chapels the baptistery is placed at the front of the building, this is the show that saviour by faith in Jesus
the world of God is chosen through the sacrament of baptism chosen freely as an adult.
In the places of public worship there are many artefacts which are distinctive characteristics or Christian art. For
example altarpieces, vessels, a crosier, misericords and reliquaries. The most important being the altarpiece. The
altarpiece is a painting displayed behind the alter which frames the altar as the main place for worship. The altarpieces
reflects the community of believers to the worshipers. An example is the ‘Seven Sacraments Altarpiece' by Roger Van
Der Wegden. This altarpieces educations and inspires people by the uplifting sense of beauty used to compliment and
explain the action of the Eucharist, a Christian doctrine. Vessels are also very important and used to carry the body and
blood of Christ. They are made beautiful in order to celebrate what they contain. An example is the Antioch Chalice.
This is made in the shape of standing lamps to create a link between Jesus as the 'Light of the World'. Reliquaries are
also a feature of Christian art as people believe that by being in physical proximity to the saint they will cure an illness
or heal a disability. Christians go on pilgrimages in order to encourage a saint to offer prays to God on behalf of them
or someone else they know. Reliquaries also help to keep a tourist trade running. An example of a reliquary is one from
Spain circa 1500. It contains imagery referring to the passion and resurrection. It is made from silver, silver guilt,
emeralds and rock crystals and contains imagery of the passion and resurrection. Religious scholars believe that it once
contained relicts of the passion of the Christ.
One of the most important distinctive characteristics of Christian art is symbolism. The cross is the symbol for
Christianity and reflects the paradox that the death of Jesus became the source of life for all Christians. An example of a
Cross is the Cloisters Cross in the Metropolitan Museum of Art in New York. It is engraved ivory and contains an
image of Adam and Eve (representing humanity) being saved through the life of Jesus. However, the cross also contains
anti-Semitic writings.
In Christian art images of God are used, unlike Judaism and Islam. An example is the Sistine Chapel ceiling by
Michelangelo. It has a picture of God as a human being and is used to show God’s relationship with humanity
Mr. Winter:
The way to get round the drop and run the candidate falls into is to think about what is unique about Christianity
in terms of doctrine and then how is that shown in the art.
So...Firstly Christians can depict their God which allows artwork (Sistine Chapel, Poussen, Fra Angelico’s
Annunciation) showing both God, Jesus and the Holy Ghost in ‘person’ as well as being able to depict the world God
has created. A central aspect of Christian faith is the death and resurrection of Jesus so therefore a key aspect of
worship. SO the centrality of the death and therefore Cross (Crosiers, Crosses, the Church architecture) leading into
Eucharist (vessel, altarpiece artwork) all guided through priest and liturgy is unique (almost theatre in RC). Power
is connected to anything that has a connection with Jesus personally (reliquaries) or with the saints (reliquaries).
However, the Reformation meant that there was a return to what was shared amongst all Christians – the Bible. A
reform based on sola scriptura led a reform of Church architecture (from Baroque through to post modern), removal of
miserichords, introduction of more prominent church furniture (pulpits), stripping away of distractions
(Westminster Abbey, Stained Glass), and focus on bible (Manuscripts). More modern interp fits with this
evangelical nature of Christianity through engagement with theological debate either through different disciplines
(film – Last Temptation of Christ, video - Bill Viola, installations – Damien Hirst, or Dance – Prayerscapes, Kurt
Lerr)
The Seven Sacraments Altarpiece was commissioned by Jean Chevrot, Bishop of Tournai (1436-1460) and one of the
most important advisers of Duke Philip the Good. This powerful man is himself portrayed in the figure of the bishop
performing the sacrament of confirmation to the left of the picture, and here looks very similar to his portrait in a
miniature of 1448. Judging by the male fashions it shows, the Seven Sacraments Altarpiece may have been painted at
about the same time.
Rogier's task was to show both the seven sacraments and also the Crucifixion, the fundamental act of redemption. He
solved the problem by moving the separate actions into a basilica with three naves. The side aisles provide room for the
sacraments, shown simultaneously; only the most important sacrament, the Eucharist, is taking place in the central
section at the rood screen altar, which means that it is directly related to the sacrificial death of Christ.
left wing: Baptism, Confirmation, Confession. The sacrament of confirmation can be administered only by a bishop and
here it is being performed by the donor, Jean Chevrot himself.
central panel: The rood screen divides the nave from the liturgical choir of a church, to which only the clerics had
access. A priest is celebrating mass at the richly furnished altar; he has just raised the host, performing the rite known as
the elevation which immediately precedes the consecration, when the bread and wine are changed into the body and
blood of Christ. The retable of the altar here consists of a gilded shrine with carved figures, on which (as very often in
the Netherlands) a shrine with the figure of the Virgin and with painted doors is placed.
right wing: Holy Orders, Matrimony, Extreme Unction. The sacraments are arranged from the first to be performed in
life, baptism, in the foreground of the left panel, until the last, seen here in the foreground. While the dying man receives
extreme unction, his wife stands beside the bed with a candle to place it in his hand at the moment of death.
The Antioch Chalice
The fruited grapevine forming the rinceau pattern of the gilded shell is
inhabited by birds, including an eagle; animals, including a lamb and a
rabbit; and twelve human figures holding scrolls and seated in highbacked chairs. Two of the figures are thought to be images of Christ.
The other ten figures have been variously identified as ten of the twelve
apostles, or philosophers of the classical age, who, like the prophets of
the Old Testament, had foretold the coming of Christ. The sixthcentury chronicler Malalas of Antioch was among those who sought to
make such links between Christianity and classical philosophy.
The identification of the "Antioch Chalice" as the Holy Grail has not
been sustained, and even its authenticity has at times been challenged.
The work has usually been considered a sixth-century chalice for the
Eucharist. Most recently, however, its shape has been recognized as more closely resembling sixth-century standing
lamps, its decoration possibly in recognition of Christ's words "I am the light of the world" (John 8:12). It has been
argued to be part of a treasure of liturgical objects found in 1908 belonging to the Church of Saint Sergios in the town
of Kaper Koraon southeast of Antioch
The Holy Chalice of Valenica
Supposedly the Chalice from the Last Supper...
The Tradition of the First Centuries: The tradition
tells us that it is the same cup that was used by the Lord
in the last Supper for the Eucharist, then was taken to
Rome by Saint Peter and was kept by the following
Popes up to Saint Sixtus II. Through his Spanish
deacon, Saint Lawrence, Saint Sixtus II was sent to
Huesca (Saint Lawrence's homeland) in the 3rd century so
as to save him from the persecution of Emperor
Valerian. The presence of the Holy Chalice in Rome is
evidenced by the phrase in the Roman Canon previously
mentioned: “He took this glorious chalice” venerated
expression that is not found in other old anaphoras and
we cannot forget that the Roman Eucharistic prayer is the Latin translation from another Greek language, since this was the
language of the Church of Rome till Pope Saint Damasus in the 5th century.
The History of the Holy Chalice in Spain: During the Muslim invasion, since 713 AD, the chalice was hidden in the Pyrenees
region finally in the monastery of San Juan de la Peña (Huesca), where a document (1071) refers to a precious chalice made of
stone. The relic was handed over in 1399 to the King of Aragon, Martin “The Human” who kept it until 1410 when he died. The
Holy Chalice is mentioned in the inventory of his properties Towards 1424, the second successor of Mr. Martín, King Alfonso
the Magnanimous handed over the royal reliquary to the Valencia Palace. Because of his stay in Naples, it was given with the rest
of the relics to the Valencia Cathedral in 1437
The Holy Chalice in Valencia: It was kept and venerated during many centuries among the relics of the Cathedral and it was
used to keep the consecrated form in the float of the Holy Thursday up to the 18th century. During the Independence War,
between 1809 and 1813, the chalice was taken to Alicante, Ibiza and Palma de Mallorca, escaping from Napoleonic invaders. In
1916, it was finally housed in the old Chapter House, later called the Holy Chalice Chapel. This continual public exhibition of the
sacred relic resulted in a world-wide knowledge of its existence, since there was little information about it while it was kept in the
reliquary of the Cathedral. During the Civil War (1936-1939), it was hidden in Carlet. Pope John XXIII granted plenary
indulgence on the day of its annual feast; Pope John Paul II celebrated the Eucharist with the Holy Chalice during his visit to
Valencia on 8 November 1982 just as Pope Benedict XVI did when he visited Valencia on 8 July.
In cathedrals (or priories, abbeys, Minster churches, collegiate churches and similar bodies) that started off as monastic
foundations, the monks, canons and other clergy were not supposed to sit down for the duration of long services,
however, in great human tradition they cheated! They added a small carved shelf to the underside of the choir stall
known as a misericord or sometimes a mercy seat or pity seat or even miserere, so that when the seat was
tipped up, they could sit on the shelf.
This is actually far more prevalent than you would at first imagine, mainly due to anyone with any spare money would
make an endowment for several monks or canons to perform masses for their souls , this of course required choir stalls
with misericords. Wood carvers were given a free rein and so came up with humorous and profane carvings for the
main bracket and supporters. Subjects for misericords vary widely, much is medieval folklore, such as musical pigs which had an allegorical relationship to lust, mermaids, the Green Man - relating to earlier pagan beliefs and wives
beating their husbands, which may relate to reminding the clergy that they had not lost out badly by celibacy,
unfortunately much of the meaning behind this folklore has been lost. The woodcarvers did, however, seem to like this
proof that the monks were merely frail humans, like themselves.
The examples above are from St. Mary’s in Godmanchester! Examples can be found in Cathedrals all over the UK and
Europe. Other examples include Durham, Ely and Winchester Cathedral or Cologne or Barcelona Cathedral.
NOTE THEY ARE UNIQUE TO CHRISTIANITY DUE TO THEIR USE BY MONKS DURING MASS!!
A masterpiece of Romanesque art, this altar cross
with some ninety-two figures and ninety-eight
inscriptions is the vehicle for a unique
iconographical program. The front displays
typological scenes alluding to the Cross as the Tree
of Life. The central medallions with Moses and the
Brazen Serpent prefigure the Crucifixion. The
terminals depict the Deposition and Lamentation on
the right, the Women at the Sepulchre and the
Resurrection on the left, and the Ascension at the
top. Below this last, Caiaphas and Pilate dispute the
title to be assigned Christ in the inscription on the
cross. Adam and Eve cling to the base of the cross,
looking up at the figure of Christ, now missing. The
richness of subjects, complexity of forms, and
intellectual character suggest that the cross
originated in a major centre of learning; the English
abbey of Bury St. Edmunds has been suggested.
Religious art must have a religious subject. Assess this view (15 marks)
A religious subject is what’s shown in a piece of religious art. Many religious paintings contain religious subjects, for
example ‘The Prodigal Son’ by Rembrandt. However, some pieces of religious art do not have a religious subject.
In Holman Hunt’s the ‘Awakening Conscious’ there is not obviously a religious subject. The picture shows a woman, a
fallen women getting off the lap of a man looking at something we cannot see what this is, but at the back of a painting is
a mirror which shows the woman looking out of a window. At first glance this painting does not seem religious without
a religious subject. However Hunt uses religious symbolism. The painting is really showing a conversion experience. In
the painting there is a cat toying with a bird under a table. This is really showing the danger of the women's position on
the lap of a predatory man. The images also shows ?cannot read candidate's writing here? The painting does not have an
obvious religious subject but becomes religious through the religious symbolism used and the title of the painting.
Therefore religious art does not have to have a religious subject in order to be religious.
Another example of religious art with no oblivious religious subject matter is the ‘Stations of the Cross’ by Barrett
Newman. These are abstract paintings and at first glance do not seem religious. However they are made religious
through the title. They are objects of contemplation that bring thoughts of suffering and compassion and the absence of
God in the post-Holocaust world. Having the paintings in a museum does not make them religious. The context of
where religious art is placed can be what makes them religious. For example the statue Sound II by Anthony Cromyl
displays what looks like a man looking at something. However it is placed in the crypt in Winchester Cathedral in a
place which often floods. This is what makes the piece of art religious. The fact that it is placed in an area that is often
flooded can contribute to the religious meaning behind it – it can have many interpretations. The statue is looking down
into the water and can be seen as Jesus looking downwards into water at his baptism. Above the statue is an arched
ceiling which takes the eye intricately upwards towards heaven just as Jesus would have seen in his baptism when the
heavens opened and the holy spirit came down. These examples show that pieces of religious art do not have to have
religious subjects to become religious. It can depend on the context where the art is placed, the symbolism or the title
of the piece or work which makes it religious.
AQA Commentary: AO2 15 marks
Approximately 12½ minutes, including thinking time, can be allocated to answering this question. Answers to part (b)
questions are not expected to be long.
The opening paragraph of this answer is weak and does not get the answer off to a good start. The next paragraph
however provides a clear and appropriate example of non-religious subject matter Holman Hunt ‘The Awakening
Conscience’ This is discussed in some detail showing clear analysis, and several important points are made in support of
the view that religious art does not require a religious subject.
This is followed by another clear example ‘The Stations of the Cross’ by Newman and there has been some attempt to
explain the work and offer an explanation of why it can be interpreted religiously. The candidate is aware that there are
two differing views, though overall only one side is developed.
For this reason it is deemed to be a partially successful attempt with the recognition that there are differing views in
evaluating the statement. However the answer lacks sufficient analysis of both sides and their evaluation suffers because
of this.
Level 5 (11 marks)
Mr. Winter:
Click
on
the
following
link
and
remind
http://www.hinchingbrookeschool.net/RE/KeySkills.html :
yourselves
of
the
following
lessons
Does religious art need a religious subject?
What is a suitable subject in religious art?
Is there a solution to the problems we face when considering religious art?
This should then give you the info to consider both sides of the question in more detail than the candidate has done.
You can argue that as long as the code is being used any image can look non-religious but in fact be exceptionally
religious. I would structure an argument something like this:
It depends on the context of the artist and the viewer:
I have written a response which I think looks at both sides and gives you a structure of how to approach essays by
setting up side up in order to knock it down:
Religious art must have a religious subject. Assess this view (15 marks)
I find this to be a weak view to hold as it denies the possibility of symbolic interpretation. Some scholars will argue
that religious art must have a religious subject matter as this ensures that it is removed from the mundane and
allows the art to enter the spiritual (Mauch). The viewer only has to stand in front of Sutherland’s Christ in Glory or
Reuben’s depiction of the Lamentation of Christ to understand that there is something transcendent being discussed
and evoked by the artist. This therefore ascribes the correct value to the piece and ensures that it is not consider merely
a morel fable. F or instance Watt’s ‘Good Samaritan’ in Guildford Cathedral runs the risk of being reduced to a
moral tale as the subject of a man supporting a limping man is not explicitly a religious one. However, once the title
is known, then the piece has a soteriological value reaching far beyond merely helping your neighbour to be nice.
Unless the religious subject matter is made clear to the view there is the risk of the viewer missing the deeper
theological meaning to the piece.
However, I find this position weak as it removes from the viewer and the artist the ability to express ideas through
symbols which do not necessarily instantly pertain to religious subject matter. For example Zurbaran’s ‘The Bound
Lamb’ or Hunt’s ‘The Scapegoat’ merely portray a seemingly dead baby sheep or a goat on the beach. Seemingly
these could not be considered religious art despite the intention of the artist or the reading by the viewer as they are
not a religious subject matter. However, both images are deeply theological with Zurbaran’s being a beautiful
representation of Isaiah 53’s silent suffering servant and the reference to the evangelist John who calls Jesus the
‘Lamb of God’ suggesting a sacrifice of a Lamb and therefore making clear reference to the death of Jesus as a
sacrifice. Hunt also expresses theological content by depicting the scapegoat onto which the sins of the world were
placed during the Jewish Yom Kippur ceremony before the goat (and hence the sins of the world!) were banished to the
wilderness and therefore allowing a clean start. When considered alongside Hunt’s other Christian works such as
‘The Light of the World’, Hunt can be seen depicting Jesus as this scapegoat about to be banished and died onto which
all the sins of the world have been placed.
This symbolism allows the artist and viewer to engage in a theology dialogue without being bout by representational
art. Instead it allows the artist to be more expressive in his work and the view (though possibly dangerous as now
exposed to misinterpretation) the freedom of interpretation. This is why I find the claim that religious art must be of a
religious subject a weak one.