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A 12 page research paper that explores the topic of Christian imagery in medieval art. Describes how various tenets of Christian doctrine are represented in medieval art. Bibliography lists 14 sources.
Page Count:
12 pages (~225 words per page)
File: KL9_khchmedart.rtf
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the prime function of art in during the medieval era to inspire devotion. Marks, therefore, considers medieval art in these terms and argues that "devotional images are incomprehensible without considering
the communities and individuals that used them" (Marks, 2004, p. 1). Furthermore, his text on Christian imagery in medieval English art takes as one of its main premises the idea
that devotional art images can convey information about the social bodies of this period, and how medieval peoples regarded religion and the interaction between art and religious observance (Mark, 2004).
The following examination of Christian imagery in medieval art adopts this same premise and explores this subject in order to discern what it relates regarding how medieval societies regarded the
main principles of Christian dogma. Background During the first centuries of Christianity, the principles that later became the foundation for Christian dogma were debated; however, by the fourth century,
the Latin Vulgate had achieved the status as the standard version of the Bible that was accepted by the Church (Evans, 2004). Of all the controversies that characterized theology
and Christian practice during the Carolingian period, the most controversial and complex was the one that concerned images (Otten, 2001). Theodulf, in the late eighth century, was one of Charlemagnes
most trusted advisers and he penned the Opus Caroli, which stated the position of the Carolingian court on the issue of whether or not it was proper, that is, theological
sound, to worship images (Otten, 2001). The controversy over images and the role of icons addresses the power of representation and how this should be handled. For example, the
Greeks perceived no harm in having icons present in the church, as this was a means for a saint to "communicate his power to all those present" (Otten, 2001, p.
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