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ROMAN ART (2) CHAPTER 2 THE ROMAN SCULPTURE

ROMAN ART

CHAPTER 2. THE ROMAN SCULPTURE .
Jacques rouveyrol

a color:

It is everywhere in the Romanesque churches: the walls, the sculptures.






2 The Iconography:

faith is that of a "terrified" the Apocalypse to your eardrums.
The man believes the twelfth century. He believes in a God completely alien, and transcendent, which has nothing in common with humans. A terrible God whose will is incomprehensible to the human spirit. Figure bysanthine the God of Moissac tympanum is made to give the impression of terrifying power.
He still believes that the world's end is near. It can relate directly. That the Apocalypse is tomorrow if not today.

The God of Gothic closing in man. His will distinguish clearly right and wrong become understandable and the Apocalypse will replace the tympanum of the Last Judgement churches.

The God of late Gothic, the fourteenth and fifteenth centuries become more "human" again, it will be crucified. God touched by the death of Christ the pity.

three characteristics: the rejection of "realism."

Romanesque sculpture is not based on "nature". The representation of the man appears "distorted". We must understand the reasons this deformation. They are mainly (see Focillon) the submission of the sculpture to architectural framework. A domination of the architecture on which the sculpture will begin to release only from the Gothic period to complete his release during the Renaissance.

3.a. First Act: Submission to the architectural framework (architectural factor).

The tent, the arch are formal frameworks in which the sculpture must enter and to do so, fold. Thus, human trapezius (below) it must form the keystone in which it operates.

3.b. Second Law: space-place (Factor metaphysics)

Aristotelian theory, in force in the Middle Ages can not conceive of space as homogeneous in the manner of Euclid, but as places rigorously trained separate and independent from each other. It is not indifferent to the body of a lie down, up, left or right. A proof that the flame rises since the top is its natural place, the fact that the stone falls because its natural place is down.
Several consequences flow from this design:

a. Each figure occupies a place and occupied it completely.

There followed deformations that allow only the figure to fill the place which is his.

b. Each site is independent of each other (in content):

The capitals of the cloister of Moissac are linked together without any logic, so one might expect, because of their estates, to what 'they tell a story, part of Genesis, for example, could lead to the resurrection.

c. Every place is dependent on each other (in form).

In each figure a way to bend to the shape of the adjacent figure (as the uneven stones of the Roman wall adjust their shapes to each other) and thus undergo deformation. Below, at Moissac, the figures of Tetramorph adjusted to the shape of the place of God and those seraphim to the shape of places Tetramorph.

3.c. Third Law: The View Hierarchy (Factor symbolic).

The Middle Ages refuses linear perspective to be that of the Renaissance. It refuses to dig illusory (as far as actually) the "wall" which is the vector of Romanesque architecture. But he is aware of perspective. It implements a hierarchical perspective: in the middle, top and place the greatest, the most important figure (God, for example). At right, above the order of importance just after, for example the Evangelist nearest the divine: St. John (the eagle: one who looks at the sun). Left, Top: St. Matthew (the angel) that which the angel himself dictated his gospel. Right, but the bottom: St. Mark (lion) represents the Resurrection of Christ. Left, bottom: St. Luke (ox, the sacrificial animal) contained the Crucifixion. Below, the less "noble" the elders of the Apocalypse.

3.d. Fourth Law (1): submission to the frame (Factor plastic).

The big story is inherited from the Corinthian figures that will be carved to reproduce the underlying form, the frame of this type of tent: rosette leaves of double standard acanthus and hooks. It will follow the deformation of figures intended to comply with this frame.

3.e. Fourth Law (2): submission to the ornamental pattern (Factor plastic) :

Symmetry or metamorphosis.
geometric requirements, due to the Corinthian pattern: symmetry, in particular, also generate new strains, but mostly hybrid figures arisen metamorphosis.

There's also the consequences of a particular conception of Nature. God created the world, gave shape to the beings who populate it, but the infinity of his power is not summarized in the familiar things. Nature itself is an expression of divine power and continues to create new forms. This is certainly not Darwinism or lamarque nineteenth century, because there is not XII idea of evolution or adaptation. Nature does not create better, it creates because it is an active power. Therefore, the edges of the manuscript pages and walls of churches that are chains "monstrous" creatures who feed off each other or are changed into each other in ceaseless metamorphoses.

4. Ornaments.

There deformation point. Especially the abacus of the capitals of the arches or eardrums, geometric figures which it is not irrelevant to note that the links (geometric sequences whose monstrous just mentioned) are probably the most common pattern.

5. Tradition.

In contrast to what seems to define contemporary art, not to the invention, but rather to the tradition that turns sculptor novel. This is good for him to pass. Middle Age is that everything is already given. The totality of knowledge is already revealed. It is, for the Fathers of the Church of the explicit and, for artists to convey. In the monastery is copied manuscripts. At the church walls, is also copied manuscripts.
But the sculptor is not confined to reproduce. It absorbs and adapts the model of memory stone. The tympanum of Moissac could come from the manuscript: the Apocalypse of St. Sever. The liturgical drama also serves as inspiration.

6. Painting.

She exhibits characteristics similar to those of sculpture.

6.a. The mural

has . "Muralité"

Representation must refuse any illusion of depth. This is the wall that must be highlighted. Everything will be on the same level: the "first".

b. Submission framework.

The paint shall submit its figures to the same requirements as the carved figures, with all the distortions that result.

c. Submission to the frame (geometric).

Just like sculpture.

6.b. Manuscripts.

a. "Muralité"

The stone is common in your choice of paper on which is written and illuminated. Any prospect that gives the illusion of depth is clearly banned (though it is, but especially in the fifteenth century, these illuminations, the first attempts at linear perspective, are to appear).

b. Submission framework.

Again (see the "capital") figures have to bend to the "architecture" of the letter of the page or margin.