The Medieval Times: Early Christian Art

Task:

Analyse at least two examples of early Christian art using three or more academic sources.

For this task I have chosen to research one image from the Lindisfarne Gospels and one from the Book of Kells. In the Lindisfarne Gospels I especially liked the carpet pages- huge illustrations of complicated knotwork for pure decoration, and from the Book of Kells I will be looking at the the diverse use of colour in the illustrated pages.

Figure 1, Carpet Page, Lindisfarne Gospels

 The Lindisfarne Gospels originated from Northumbria in England around 700AD, and is considered perhaps the most beautiful of Hibernian art.   
                               
 In the carpet pages of the Lindisfarne Gospels the design incorporates many features from different cultures around the world, fused into one symmetrical but abstract whole. Influences from Celtic knotwork are seen on the side decorations and the curling designs, when looked at closely, are different animals interwoven with each other in such a way they are eventually no longer discernable from each other.

"Moreover, the various elements of the design (wether originally Irish, East Mediterranean or Nordic) are here amalgamated into a coherent and symmetrical whole and, as a masterpiece of abstract art remains, in the present writer's view, unsurpassed." 1

 "Early medieval art is characterised by unifying decorative ornament made from wild creatures, fluid and flowing, vigorous and animated." 2

While the Lindisfarne Gospels are considered one of the most beautiful works of early Christian art, the Book of Kells is the most colourful.

Figure 2, Gospel of John, Book of Kells

As you can see here, this illustration is a lot more wildly coloured, with much louder tones being used. What is especially noticeable is also the wide variety of colours- while in the carpet page of the Gospels a fairly straightforward colour scheme of gold, red and blue, the Book of Kells uses everything from green, purple, gold, blue and a rich burgundy.

"Less refined than the Lindisfarne Gospels, the Book of Kells is almost overwhelming in its colourful elaboration... The range of colours used is dazzling..." 3

"In these portraits, Gospel scenes, full pages of ornament and introductory pages of decoration, the artist takes over with his balanced mixture of invention and discipline. His range of colours is considerable. It includes the frequent use of different shades of mauve, several shades of yellow, blue, brown, green and red." 4

Figure 3, Madonna and Child, Book of Kells

It is also interesting to note that the Madonna is not particularly anatomically correct. The legs have been drawn in a very stylised fashion and her breasts are long and almost cylindrical.

 "Against a flat background with floating figures, doll-like Mary and Jesus are treated as patterns of lines. The curvilinear folds of Mary's drapery form a decorative design, the transparent fabric revealing the non-anatomical shape of her legs and pendulous breasts." 5

List of Illustrations

Figure 1 Carpet Page, Lindisfarne Gospels, 700AD, GOUGH, M. The Origins of Christian Art, Thames and Hudson, p. 190
Figure 2 Gospel of John, Book of Kells, GOUGH, M. The Origins of Christian Art, Thames and Hudson, p. 194
Figure 3 Madonna and Child, Book of Kells, BENTON, J. R. Art of the Middle Ages, Thames and Hudson, p. 40

References

[1] GOUGH, M. The Origins of Christian Art, p. 191
[2] BENTON, J. R. Art of the Middle Ages, p. 41
[3] GOUGH, M. The Origins of Christian Art, p. 194
[4] ARNOLD, B. A Concise History of Irish Art, p. 38
[5] BENTON, J. R. Art of the Middle Ages, p. 9

Bibliography

ARNOLD, B. A Concise History of Irish Art, (1969), Thames and Hudson, London
BENTON, J. R. Art of the Middle Ages, (2002), Thames and Hudson, London
GOUGH, M. The Origins of Christian Art, (1973), Thames and Hudson, London