Behind the Veil

Friday Mosque at Reza'riyah

Behind the Veil

The Mihrab and its arabesque patterns display the marriage between the aesthetic, mathematical, and symbolical to express the transcendental nature of Allah. 

The continuous, highly detailed arabesque patterns of the Mihrab symbolize the infinite and transcendental nature of Allah. These essential arabesque patterns evoke a sense of humility within the viewer as he is confronted by the seemingly boundless geometrical formations of the Mihrab, which serve a similar purpose to those of the circular gateways found atop domed churches in the early Christian period. However, unlike the Christian gateways, whose elevated, remote locations emphasize the toilsome spiritual ascension required for salvation, Islamic effigies express the attainability of Jannah and the inclusive nature of Islam through their immense size and grounded location. This contrast further asserts the lack of hierarchical structure in Islam and its rejection of the material, in its search for a unique, spiritual connection with Allah.

The implicit language and symbolism of the Mihrab indicate not only the central role of Arabic in Muslim culture, but also its ability to coalesce the followers of Islam. Due to the relative repression of imagery in Islamic art Muslims increasingly turn to the Arabic language to satisfy their natural desire for expression. The combination of Arabic’s important role in the Islamic faith and its pervasion of Muslim society have made it, along with arabesque patterns, both a symbol of Islamic culture and a unifying motif for all Muslims.

In addition to some of the less distinct themes discussed above, the Mihrab is also a clear, explicit display of Islam’s cultural superiority and power during the middle ages. Unlike their Christian counterparts, Muslim artists of this period depended less on the artificial enhancers of coruscating metals to express their devotion and submission to God, and, instead, were able to articulate their relationship with Allah through complex, sophisticated, and original art. The complex symbology and underlying themes of arabesque patterns stand in clear opposition to the frontal and simplistic nature of Christian art prevalent during the late middle ages. This artistic sophistication allows Islamic art to convey spirituality without the loaded imagery of Christian iconography. This contrast is further reflected in the differing, yet similar, ideology of these two monotheistic traditions, Islam emphasizing the importance of both mind and spirit and Christianity championing the spirit’s triumph over the material.

The Long Way Around

Romanesque art is a coalescence of artistic traditions ranging from Ancient Rome to the Insular art of pagan Europe. The continued lack of political and social unity in Western Europe is clearly expressed in the period’s diverse artistic styles. This artistic diversity often results in conflicting designs such as the contrast in interior decoration between Sant Vincenc cathedral and the late Abbey Church of Cluny who communicate different themes as a result of their unique artistic approaches. Nonetheless, their does exist some core, artistic aspirations of the Christian artistic tradition that remain relatively constant during multiple periods. Both the interior of Sant Vincenc and the “glittering immaterial screens” of Byzantine and Early Christian mosaics aspire to create a solemn environment conducive to spiritual transcendence, albeit by different means and to varying degrees of success.

The allusion of a “glittering immaterial screen”, prevalent in Early Christian and Byzantine mosaics, acts as a mental portal, transporting worshippers from “physical to spiritual realms”. The combination of abstract depictions of the human form and emotion in mosaics like The Crucifixion, result in paradoxical impressions of both humanism and celestial superiority, making the images emotionally accessible yet spiritually superior. 

Although it is arguable that the absence of a obvious overarching style or canon during the Romanesque is an indication that the essence of Romanesque art is in fact its lack their of, latent themes of monumentality, security and individualization nonetheless, pervade the period. Monumentality is clearly evident in the physical size and presence of Romanesque cathedrals such as Pisa and Saint-Sernin. The increase in grand cathedral construction during the Romanesque period exposes Europe’s attempt to solidify its position as a new socioeconomic superpower worthy of challenging the Islamic empires of the Middle East. European society’s search for spiritual and physical security during the period is evident in not only the monumentality and resulting “defensive qualities” of Romanesque structures but also in the fear inspiring illustrations of illuminated manuscripts like the Mouth of Hell, whose depiction of tortured souls in the jaws of a mythical beast demonstrates the lingering insecurities of European society concerning its spiritual and political future. The individualization of Romanesque art is evident in the diversity of artistic motifs throughout Europe. An example of this diversity is the contrast in visual aesthetic between the sober and unembellished nave of San Vincenc and the extravagant and ornately decorated nave of Saint-Savin. The artistic opposition occurring even though both structures serve the same purpose, to facilitate Christian worship.

Similar to the contrast between some Romanesque structures, “the glittering immaterial screen” concept and San-Vincenc create different visual impressions. However, both artistic creations strive to fulfill their intended purpose of impressing upon Christians God’s eternal power and the spiritual transcendence required to surmount earthly temptations. Rather than a complete rejection of the “glittering immaterial screen” concept, San Vincenc represents an alternative, fulfilling the same purpose but by different means. Mosaics like the The Crucifixion use coruscating metals, loaded imagery and abstract representations of the human form to convey the central theme of spiritual transcendence. Their detail and explicit imagery enables the mosaics to transmit a relatively universal theme with little imagination or faith required on the part of the viewer. San Vincenc, on the other hand, responds to the challenge of conveying spiritual transcendence by requiring its worshippers to, in a sense, prove their faith by achieving spiritual transcendence without the customary visual aids common during the early middle ages. San Vincenc does, however, adopt Romanesque monumentality by using simple yet imposing stone structures and vertically integrating its piers and vaults. This combination of imposing structure and limited light creates a humbling environment conducive to personal introspection and traditional Christian worship reminiscent of the clandestine Christian ceremonies of Ancient Rome. Ironic, considering the grand structure itself a retrogression to the monumental structures of a civilization that, not only, crucified Christ but persecuted Christians all across its vast empire. Even with its imposing interior, San Vincenc requires a more devout believer to overcome the earthly in its simple, modest environment rather than the extravagant environments of later Romanesque cathedrals such as Durham and Cluny. The obvious differences in decoration exposes the clear contrast in approach between the “glittering” mosaics of Early Christian and Byzantine Art and the interior of San Vincenc. However, this contrast is not universal, their exist numerous examples of Romanesque interiors, such as the nave of Saint-Savin, that create an environment of spiritual transcendence by means of visual extravagance similar to the elaborate mosaics and interiors of earlier periods.

A Change In Concentration

The cultural differences between the Paleolithic and Egyptian cultures are evident in the two sculptures. While the Venus of Willendorf is an expression of abundance and sex, the Lady Sennuwy is an expression of elegance, restraint and control over the elements. The Venus of Willendorf’s lack of straight lines and corpulent body is an expression of unbridled hedonistic consumption in a time of famine. Lady Sennuwy is the antithesis of the Venus of Willendorf; it is an expression of control, elegance and restraint during a time of relative abundance.

Lady Sennuwy is an almost perfect demonstration of that linearity. The straightness of her posture and lack of definition in her hair gives the impression of the body being a continuation of the stone. Even the unavoidable curves of the human body are controlled and symmetrical. Her breasts are perfectly round and upright, without a single defect, in contrast to the enormous sagging breasts of the Venus of Willendorf. Lady Sennuwy’s vertical posture and folded hands emphasize her timeless serenity. She is an expression of control, control over emotions, control over the physical, control even over nature. She is the converse of the Venus of Willendorf whose obese and sagging body is expressive of unbridled consumption. While one gives in to nature the other strives to control it and reach a higher state of civilization. This higher state is the ability to conform nature rather than allow it to conform you. An example of which would be the pyramids, structures that rival the mountains of nature yet are unnatural in their geometric perfection. While the people who had created the Venus of Willendorf gave in to nature, Ancient Egyptians strove to control nature and create their own parameters for existence. The Egyptians were the first true examples of the suppression of human instinct, the minimalistic approach to nature. This attitude is evident in the sculpture of Lady Sennuwy whose body is proportionate and slim. She represents neither excess nor it’s antonym but instead demonstrates perfect moderation. She is neither opulently clothed nor naked; she is neither fat nor thin but is instead a compromise. This moderation distinctively separates her from nature, which has a tendency towards the extreme. While the Venus of Willendorf represents nature in its excess Lady Sennuwy represents the growing theme of moderation and suppression of nature in the modern world.

The stylistic differences between the Venus of Willendorf and Lady Sennuwy give insight in to the stark differences in the each creator’s culture. The attention to detail and the outward perfection of the Egyptian sculpture expresses the value of external beauty in Egyptian culture. The Egyptians according to Paglia where the first real creators of elegance or “cultivated abstraction” and this is what Lady Sennuwy represents. The complete opposite is the case with the Paleolithic. The lack of symmetry or attention to aesthetics in the Paleolithic sculpture hint at its importance being beyond just its physical appearance. While the Egyptian sculpture is intended to be an expression of power, beauty and serenity the Venus of Willendorf is an expression of nature in all its unbridled mass. The Venus of Willendor’s facelessness and lack of identity make her uncontrollable, just as nature is uncontrollable. This uncontrollability represents the cultural heritage imbedded in this Paleolithic sculpture. The nomadic hunter-gatherers lived one day to the next in constant fear of Mother Nature taking away what little they had to survive on. Mother Nature represented abundance, abundance that man had yet to control and thus had no choice but to give himself in to the natural forces of the earth. The Egyptian sculpture is a celebration of man’s control over nature. It’s size, the hours it took to make and its perfection tells the story of a society that values appearance, wealth and power. The clean lines hint at a society that puts a lot of value on outward appearance and cleanliness. The simple lines and shapes reflect Ancient Egypt’s strict hierarchical society. The lack of variance in style further emphasizes the strict guidelines that existed in Egyptian society. Egyptian society was based on ideas and a lifestyle of man’s own creation. Their lives were defined by their interaction with other men rather than the environment. This was significant change from the humans who lived during the Paleolithic era and who’s life was based on nature rather than their interactions with other humans. Lady Sennuwy is not representative of the “too muchness of nature” instead it is representative of the “too muchness of man.” Man’s hubris. Man’s yearning for control over his environment and independence from the power of Mother Nature.

The artistic development from the Paleolithic to the Egyptian era represents a major change in humanities focus, going from the internal to the external. During the Paleolithic era humanity tried to connect with nature as it was the great provider for them. They tried to connect with their nature and their art represents their attempts to analyze the nature around them. In contrast, the ancient Egyptians began to focus more on themselves and their interaction with others, concentrating instead on the domination of nature and the creation of their own identity rather than have their identity defined by the nature around them.

The Greek Ideal: Its Central Themes and Influences

The cultural influences that lead to the development of the Greek ideal are varied and distinctive. Nonetheless, the principle influence on the Greek perception of the ideal is its view of itself in relation to the rest of civilization. This view of itself in relation to others is in a constant state of flux due to the ever-changing conditions affecting Greek Society such as wars and socioeconomic conflicts. There are, however, some fundamental themes to the ideal that do not change over time, particularly beauty and the cultural superiority of the Greeks. These central themes remain consistent throughout periods of change in ancient Greece, but the exterior, non-essential ideals are subject to change.

The central, constant ideals of Greek art are idealized beauty and the superiority of Greek culture. These two themes stay consistent throughout the three artistic periods: archaic, classical and Hellenistic. For example, Kouros (youth), from the archaic period, is a depiction of the beauty of youth with its slender waist, prepubescent genitalia and feminine facial features. In addition to its idealistic depiction of a “beautiful boy”, Kouros is also an exhibition of the determination of Greek culture. With its rigid stance, clenched fists and linear gaze, Kouros appears undaunted, as it walks towards an unknown destination, evoking the concept of a “man on a mission”. The man represents Greek culture, its mission, to achieve cultural and ideological superiority.

This theme of cultural superiority remains constant throughout the various artistic periods. Kritios Boy, from the early classical, displays similar concepts. With its right foot forward, contrapposto stance, and a look of serene detachment, Kritios Boy exudes a sense of Greek cultural superiority. It’s boyish physic further validating the “beautiful boy” concept developed by Paglia. The central themes of the Greek ideal, beauty and Greek cultural superiority, continue to play a major role in the artwork of the Hellenistic period where pieces like the Hellenistic Prince and the Apollo Belvedere express an almost effortless elegance with their relaxed poses and aristocratic appearance.

Although, some of the artwork from the Hellenistic period, such as the Drunk Women, initially appear as if they represent a different central theme then the original Greek ideal, the core concepts still remain. The Drunk Woman is a perfect example of artwork from the Hellenistic age that does not clearly coincide with the central concepts of the Greek ideal. With its longing gaze and lymphatic posture, the sculpture initially evokes a sense of vulnerability and diminished capacity. However, the Greek ideals of beauty and cultural superiority still remain. The Drunk Woman is a realistic reflection of Greece’s decline in the western world. It harkens back to the time of beauty and cultural superiority through the medium in which it is portrayed but the depiction is nonetheless negative, giving the viewer the sense that the woman, with her expensive clothes, represents Greek society which has become drunk off its own cultural excess. The Drunk Woman, along with other pieces of Hellenistic realism, may initially appear to be in ideological contrast to the central themes of the Greek Ideal but are in fact a representation of their decline. Therefore, Hellenistic realism does contain the central themes even if they are portrayed in a diminished state and are initially unclear. These central themes of the Greek ideal, beauty and Greek cultural superiority, are consistent throughout the three periods even though they become less overt in certain pieces from the Hellenistic period.

 
The exterior themes that differentiate each period from another are in a constant state of flux due to developments in Greek Society and it’s contact with other cultures. For example, a significant amount of the stylistic elements evident in the Kouros (youth), with its rigid pose and idealistic stylization of the masculine form, originate from Egyptian art with its strict canon and emphasis on the timelessness of artwork. This development was only made possible through Greece’s strategic location in the Mediterranean and resulting contact with foreign cultures such as Egypt. During the Classical period, the dominance of Athenian culture during the 5th century and late 4th century played a large role in shaping and influencing the artistic style of that period. Athen’s wealth and power attracted the most prominent artists and thinkers of its time allowing Athenian culture to pervade in to Greek art. The artworks produced by Athens such as the Parthenon, were intended to be an expression of wealth and cultural superiority and were only made possible through the concentration of Greek wealth and power in Athens. The beginning of the Hellenistic age, on the other hand, was marked by a decline in Athenian power, consolidation of Greek city-states under the rule of Alexander the Great and a rise in the prevalence of Greek philosophers. Greek sculptor became more naturalistic, with statues like the Drunk Woman depicting situations that were previously nonexistent in the Greek art. Sculpture became increasingly concentrated on man’s experience in the natural world rather than the idealized depictions of man, common in the archaic and classical periods. The development from idealization to naturalism is a reflection of Greece’s declining position in western civilization. The decline coincided with the rise of the Roman Republic and the fragmentation of Alexander the Great’s empire. But even though art during the Hellenistic age developed its own unique character it still retained the central themes of the Greek ideal, aesthetic beauty and the cultural superiority of Greece.  

The Greek artistic development from Archaic to Classical and then eventually Hellenistic, reverses the development pattern of the Egyptians who were preceded by the Dionysian artwork of the Paleolithic era. The Greek ideal, however, remains constant throughout the three Ancient Greek artistic periods. The way, however, in which the ideal is portrayed, differs from period to period, the Hellenistic being the most radical with certain pieces depicting a decline in the beauty and influence of the Greek civilization. It is as if Greek culture had been brought down from the impervious heavens where it once resided, untouchable in its universal superiority, and forced to face reality, a reality in which Greece is no longer the superpower of the Ancient world and is instead subject to the whims of its increasingly powerful neighbors. The realism of some sculptures in the Hellenistic period, such as the Old Market Woman, reflects this change. By depicting humanity in all its vulnerability, Hellinistic realism exposed the gradual movement of Greek art away from the idealized and towards the Dionysian instead. Nonetheless, the Hellenistic period was also Ancient Greece’s last chance to leave their mark on western art resulting in the creation of sculptures like the Venus de Milo and the Nike of Samothrace, both of which are widely considered, to this day, to be among the greatest artistic creations of western society.