Early Medieval History PDF

Early Medieval Going back to Western Europe What’s happening in the East …  Key Point 1 Illuminated Manuscripts Transition from scrolls to bound books (codices) Allows for preservation of writing and learning Preserved and copied by Benedictine monks Keeps lit...

Early Medieval Going back to Western Europe What’s happening in the East …  Key Point 1 Illuminated Manuscripts Transition from scrolls to bound books (codices) Allows for preservation of writing and learning Preserved and copied by Benedictine monks Keeps literacy alive  Key Point #2 Small, portable art is most common A time of migration and war  Middle Ages: Middle of what? Time between the Roman Empire and Renaissance “Dark Ages” refers to our lack of knowledge of this era Barbarians would invade, settle, and push out previous group This caused chain migration across Europe that leaves it in anarchy Charlemagne’s and Otto’s bring some peace and stability and spread Christianity The art is a fusion of Roman, Northern, and Christianity Cultural leadership moved away from Rome, north to France, Germany, and the British Isles British Isles, Scandinavia, & Celtic Art of the Warrior Lords As the Roman Empire dissolved, conflicts for power were common Each group would lead until taken over by another group Celts, Huns, Vandals, Franks, Goths, Merovingians, Vikings, etc Interlace Ribbon interlace and animal interlace were used as decoration on a variety of art objects from Sweden, Norway, and the British Isles  Merovingian looped fibulae. Early medieval Europe. Mid-sixth century CE. Silver gilt worked in filigree, with inlays of garnets and other stones. Merovingian: basically France and most of Europe Fibula: decorative pin used to fasten clothes together at the shoulder Originally used in Etruscan and Rome VISUAL/CONTENT Made of gold, silver, bronze and precious and semiprecious stones Cloisonné: using thin metal bands to separate colored areas on metal Imbues the object with great power Similar in looks to stained glass windows and mosaics Covered in decorative patterns to emphasize the shape Zoomorphic – highly stylized use of animal forms Fish and eagle seen here Eagle = a symbol taken from the Roman Empire that was for power and status Merovingian looped fibulae. Fish Fish Eagle heads Raised curve Eagle heads  Merovingian looped fibulae. Early medieval Europe. Mid-sixth century CE. Silver gilt worked in filigree, with inlays of garnets and other stones. CONTEXT Decorative luxury item (FUNCTION) Requires many hours of highly skilled labor to create it Shows social status and prestige Found in a grave, buried with the owner Displays the highly sophisticated technique and material use of the Northern artists (France) Design is the result of migration and multiple influences (eclectic)  Merovingian looped fibulae. Early medieval Europe. Mid-sixth century CE. Silver gilt worked in filigree, with inlays of garnets and other stones. Created at the same time FIBULAE  Christian Ireland and England Hiberno-Saxon (Irish-English) Most distinctive products were the illuminated manuscripts Animal style = animals in stylized combat patterns Brought the Word of God to a predominantly illiterate population Created in a scriptorium A cold workplace where monks worked in silence at slanted desks Books were extremely rare and guarded treasures Medium: Vellum Made from calfskin Parchment Made from sheep skin Extremely time consuming and expensive to make Manuscripts were treated as objects with great spiritual POWER Carried in processions into mass and placed on altar (holiest spot in church) Visual manifestations of spiritual power Used by missionaries to convert locals to Christianity  The Lindesfarne Gospels. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum). CONTEXT The Gospels were written by Christ’s Four Evangelists are Matthew, Mark, Luke, and John They are 4 different versions of the story of Christ according to each Evangelist An evangelist is someone who seeks to convert others to Christianity Lindisfarne Gospels: St. Luke portrait page; St Matthew, cross-carpet page; St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum). CONTEXT Produced in a monastery on Lindisfarne Island (British Isles) Hiberno-Saxon- the style of art (Roman and Anglo-Saxon influences) Illuminated manuscript- a book with elaborate illustrations to supplement the text (manu=hand, script=written) Book of Lindisfarne contains the 4 gospels (stories of Jesus’s life by 4 different authors, the evangelists: Matthew, Mark, Luke, and John) Each gospel began with a PORTRAIT page, then a CARPET page, and then an INCIPIT page The artist: a monk named Eadfrith Most books were made by a team, this one is unique 259 pages-portraits of Evangelists, carpet pages, and the gospels, each introduced with an initial Carpet pages-decorative panels of abstract and zoomorphic forms Incipit: opening words of the gospel FUNCTION: used by clergy for spiritual purposes Read during meals for contemplation Lindisfarne Gospels: St. Luke portrait page. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum). CONTENT: Luke is a writer (so he has a scroll and pen) His attribute animal is the calf (or ox) It’s also a symbol of Jesus’s sacrifice on the cross Winged calf carries the gospel Halo is present Bearded, but young No interest in creating 3D effects No shading or contouring of fabric Only line and color are used – very flat Drapery is sharp curving lines with flat color Classical style, lots of Roman influence Greek and Latin are both used  Lindisfarne Gospels: St. Luke portrait page. CONTEXT Written in Latin and Greek 150 yrs later English is added Earliest interpretation of the Bible in English This style sets the Lindisfarne Gospels apart from Mediterranean manuscripts Blends styles of Holy Roman Empire and Hiberno-Saxon Roman: Hiberno-Saxon: seated like a philosopher Interlacing on corners Greek & Latin Flattening of space Serifs on letters Multiple views at once Fabric Similarities? Differences?  Lindisfarne Gospels: St Matthew, cross-carpet page. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum). CONTENT Combines Christian symbolism with intricate interlace patterns and animal motifs These are familiar to the new converts Like the Merovingian fibulae A large cross against a background of knots and spirals Some say the animals are snakes writhing and devouring themselves When examined, long-legged, long-necked birds Using the Hiberno-Saxon style increases conversion to Christianity  Lindisfarne Gospels: St Matthew, cross-carpet page. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum).  Lindisfarne Gospels: St Matthew, cross-carpet page. VISUAL CHARACTERISTICS Horror Vacui Symmetrical Cloisonné style on birds cloisonné-enamel work with colored areas separated by thin bands of metal Rich, vibrant colors No shading or value Shows motion and change Central Celtic cross adds stability CONTEXT Earliest manuscript to devote an entire page to the cross Combines Christian imagery and animal interlace Function: to be gazed at for meditative purposes INFLUENCES Celtic: curvilinear organic motifs Roman: Brackets on corners of design are of Asian: called “carpet” pages because of their resemblance to oriental rugs or prayer mats  Lindisfarne Gospels: St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum). Incipit: opening words of a text (in this case the Gospel) Filled with animal life and spirals Large Q forms the opening sentence “Quoniam...” Rest of letters become negative space This is from St. Luke’s gospel in the Bible  Lindisfarne Gospels: St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. C. 700 CE. Illuminated manuscript (ink, pigments, and gold on vellum). Red text written under each word is the oldest translation of the Gospels into the English language Added in 950ce by a monk in the same monastery  Lindisfarne Gospels: St Matthew, cross-carpet page St. Luke portrait page St. Luke incipit page Italian Use of Latin Celtic Horror vacui Draws together all the varied Intricate design influences that shaped Christian Anglo-Saxon art Interlacing Animal style Chi Rho Iota Page Book of Kells, late 800’s ce