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Christian cultures from the past to modern times have used visual and
performing arts to express and critique their faith. In this assignment it
will be argued, as a natural and expressive element of our faith, arts have
strengthened our relationship with God.
these arts therefore via the study of these art forms one is able to view
significant developments in the tradition of Christianity and how it is
expressed and critiqued by these arts.
The creative arts play a paramount role in moulding the world view of any
one culture and individual (Hongmark 2010). It can be argued our world
view throughout history is our map of reality. In addition to this our world
picture is a map of reality made up of images, symbols, myths and stories
(Ryken, 2000). In analysing Christian art forms we can we are able to see
that man is one who grasps and shapes reality with the aid of great
images, metaphors, and analogies( Niebuhr 1963 p. 151). The artist is
greatly influenced by his cultural and social setting thus affecting the style
and themes of his art work. Following on from this statement one can
view creative arts as a way of enriching human life because of they
appeal to our imaginations and connect us with the transcendent. Over
time man has used the arts to probe religious beliefs and therefore this
has allowed a deeper understanding of his relationship with God. Via the
arts mankind throughout time has undergone the process of internalising,
synthesising and representing our faith in various forms. This process
requires both critical and creative skills which have aided the transmission
of faith.
Although the art of this type was simplistic and related to the natural
world view of the artist it echoed the belief in the goodness of creation
and the existence of something greater than life on earth. The scenes
retold visually the story of Christ , these by their very nature were images
which were a manifestation of a faith waiting to be expressed
( Armstrong,2009). A further example of this is the catacomb of SS.
Pietro, Marcellino, Rome, which indicates an expression of faith that rested
on the hope of an after-life in heaven. As a result of the art used in the
catacombs the viewer can see the sacred burial ritual through a different
lens due to the artistic work of early Christians. Via this art work the artist
proclaims to the world that is not a Roman but rather a Christian burial
site. Already in these ancient times we see art as an expression of faith
and also a way of critiquing the acceptance of Christianity. Although this
catacomb shows a distinct Roman influence in regard to the artwork, the
artist clearly sends a message of Christianity and expresses the belief in
an after-life. The art work shows clearly a dome of Heaven, inscribed with
a cross, the main symbol of faith. Within this art work the symbol of Christ
the Saviour is represented by the Good Shepherd i.e. a shepherd with a
sheep on his shoulders (Janson,2004). This early art form still very much
influenced by the artists world view of Roman designs and landscape
backgrounds without doubt expresses the faith of the time using a new,
symbolic content (Janson, 2004) .
In the beginning Christian artists used narrative art to relay the religious
message. This technique required each image to be connected to the next
e.g. images of Daniel relate to images of Jonah and Noah, these could not
be interpreted in isolation. Following Constantine Christian art took on a
more dogmatic meaning as a divine symbol (Jefferson, 2014) however
they still portrayed the essence of communities and their beliefs thus
allowing the viewer an understanding of the development of Christianity
at the time.
In the early Church very few people could read or write, the result being a
focus on spoken word to deliver the retelling of Jesuss life, the nativity,
crucifixion and resurrection. It is from these retellings we see the central
beliefs of Christianity develop, which over time became the credo of
Christianity.
not only for liturgical and educational purposes but also to generate
primary religious experience ( Howes ,2009 p.93) . This idea was most
evident following the Baroque period when the painting of icons was seen
as a way of establishing the traditions of the church. The message for the
use of icon art is best expressed by the following: Icons are in painting
what the Holy Scriptures are in writing (Howe 2009 pg.115). In the
Eastern Church the icon stood out as a key element of Byzantine worship
with its heavenly golden background and hieratic figures ( Armstrong ,
2009) . From the Second Council of Nicea II onwards Armstrong argues the
use of icon art allowed a harmonious joining of intellect and imagination
based on incarnational theology which in turn promoted a personal
expression of faith veneration (Armstrong 2009). This is further supported
by Jason who argues paintings of Christ and the Enthroned Madonna for
example functioned as living images to instruct and inspire the
worshipper(Jason 2004 p.42). The use of holy cards is evidence of the
non-verbal translating what verbal theology could not impart (Rahner,
1982). The practice of using holy cards as a form of evangelisation was
used to promote the faith in indigenous cultures in America by the
Spanish and Portuguese missionaries. The intricacies of the theology may
not have been understood by such people at the time but undoubtedly the
images imprinted the message of salvation by Jesuss death on the cross
and Marys intercession. Evidence of this can be seen by the image of Our
Lady of Guadaloupe on Juan Diegos cloak, thus demonstrating faith
expressed and critiqued ( Armstrong , 2009).
The Middle Ages saw a style of art which portrayed art as an expression of
piety and devotion ( Janson ,2009). Throughout this period of time artistic
activity escalated as a way of delivering religious ideas not only by
drawing and painting but also using stained glass , stone, chants, hymns
and plays. The Cathedral became the focus of prayer and community
where visual images portrayed the congregations connection with God.
It is worthy to note at this point in relation to the history of faith that the
Catholic Church was critiquing itself in relation to what they thought was
needed to continue the spread of Christianity. The Church at the time
realised the need to engage the wider community by way of archecture. In
the late 1100s adaption of Roman basilicas saw a new architecture the
Gothic style. Notre Dame in Paris and Westminster Abbey in London give
evidence of the mindset of worship being more grandiose. The images in
these buildings were more extravagant and colourful in Catholic places of
worship compared to Protestants who preferred less decoration. The
maximising of the key elements of light and upward space which draws
the viewers eyes and prayers to heaven is symbolic of the type of praise
which flavoured the faith at the time.
In regard to hymns and music of the Church through the Middle Ages it
can be said these were used to promote sound doctrine. The hymns were
text driven and came in the form of monophonic chants. This expression
of faith went hand in hand with performing arts in the context of the Mass.
Medieval drama originated in the liturgy of the Church in the tenth
century. Additions to the Mass in the form of sung antiphonal tropes were
In the modern world arts still seek to express and critique the Christian
faith as man turns to creative artists for visions of transcendence
(Armstrong 2009). However it is a different style of religious interpretation
as it no longer points solely to the vertical dimension (love of God). In
todays society through Church social teachings we see an emphasis on
faith demonstrated in a horizontal dimension (love of neighbour). It is
through the interplay of these two dimensions modern day film making
can serve a religious function. Film captures the imagination of man and
gives the opportunity for the viewer to critique their world view and make
sense of their world. When the viewer watches film they bring their faith
judgements to the event. Robert Johnson, in Reel Spirituality, suggests
that a film calls upon both experiential and analytical responses ( chap. 8,
Responding to Movies Theologically, p. 151-72). It is the analytical
response that movie makers challenge by posing questions about the
traditions of faith. Movies in the context of Christianity are the interface
between church and the world. Films are in a position to critique our faith
critique our faith but in addition to this tell us about the cultures that
produced them. Catholic art with its resurrections, Last Suppers,
Annunciations, crucifixions and madonnas is a visual history of the
psychology and sociology of Western culture. These very same visual arts
are a historical reference on how Christianity was transmitted and
received at various points of time in history.
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