Final Paper: Art And Architecture Of The Roman Catholic
Final Paper Project Art And Architecture Of The Roman Catholic World 2
Choose an object/structure from the Art & Christianity Ecclesiart Projects site or from the slide file posted on Blackboard. Review your slides and notes for an object/structure you wish to explore, and compare it to a similar but modern object/structure from the sources above. The core focus is to identify significant similarities and differences between the selected historical object/structure from the 4th to 17th centuries and a modern one from the 20th or 21st centuries.
In your analysis, consider not only the visual and formal aspects but also the underlying beliefs, imagery, rituals, and adherents associated with each object or structure. Reflect on how each object influences or impacts those who experience it in person, including its religious, cultural, and societal implications.
Your paper must include images of both objects/structures and any other relevant objects discussed. Support your analysis with a well-researched bibliography comprising vetted sources, including online resources such as the Metropolitan Museum’s Heilbrunn Timeline of Art. No Wikipedia or popular sites like PBS are permitted, but bibliographies within such sources can be useful if properly vetted.
All ideas and direct quotes must be cited with endnotes, and sources should be included in the bibliography. Use a consistent citation style such as Chicago; the focus is on proper citation and avoiding plagiarism. Your paper should be between 1500 and 2000 words, but not exceeding 4000 words, excluding bibliography and endnotes.
This project aims to synthesize your understanding of art history, symbolism, religious function, and societal impact through comparative analysis. It should demonstrate critical engagement with both periods, emphasizing contextual, symbolic, and functional insights into the objects/structures chosen.
Paper For Above instruction
The comparison between early Christian basilicas and modern spiritual architecture reveals both profound continuities and notable divergences rooted in evolving religious practices, societal values, and architectural technologies. Analyzing the Basilica of San Vitale (c. 526 CE) and the contemporary Light and Space movement's installation works, such as James Turrell’s “Akhob” (2012), illustrates these shifts and continuities comprehensively.
Introduction
The purpose of this paper is to compare and contrast an early Christian structure, the Basilica of San Vitale in Ravenna, Italy, with a modern installation art piece, James Turrell’s “Akhob”. The Basilica, constructed during the Byzantine era, exemplifies the religious and artistic values of its time, emphasizing divine transcendence through architecture and mosaics. Conversely, Turrell’s installation employs light as a sculptural medium to evoke spiritual reflection, demonstrating how contemporary art continues the exploration of spirituality but through different means.
Historical and Cultural Context
The Basilica of San Vitale was built during Emperor Justinian’s reign as a statement of Christian imperial authority. Its architecture embodies the theological emphasis on divine order, with a centralized plan and elaborate mosaics depicting biblical scenes and imperial figures. The use of light in its mosaics symbolizes divine illumination, serving as a visual theology that elevates the soul towards God.
In contrast, James Turrell’s “Akhob” is incorporated into the contemporary Light and Space movement, which emerged in the 1960s. It aims to make viewers aware of their perception and the phenomenological experience of light as an experience of the divine or transcendent. The installation uses precisely controlled light to induce meditative states, emphasizing perception and personal spirituality rather than doctrinal imagery.
Symbolism and Imagery
The mosaics in San Vitale are rich in symbolism—Christ Pantocrator, saints, and imperial figures convey divine authority and the community’s religious values. The architectural design directs the worshipper’s gaze upward, fostering a sense of divine presence and celestial hierarchy. The use of geometric and figurative imagery serves as theological allegories, augmenting the liturgical experience.
Turrell’s “Akhob” employs light to manipulate perception without figurative representation. The ephemeral light fields create an immersive environment where viewers transcend physicality. The absence of imagery challenges the traditional iconographic approach, focusing instead on sensorial engagement, encouraging introspection and personal spiritual connection.
Beliefs, Rituals, and Adherents
The basilica’s design facilitated liturgical rituals—processions, Eucharist, and prayer—integrating architecture and religious practice seamlessly. Its monumental scale and mosaics reinforced community identity and state authority rooted in Christian doctrine.
Turrell’s work invites individual contemplative experience, often in galleries or specially designed spaces that foster personal reflection. It underscores a shift from communal religious rituals to individualized spiritual encounters, reflecting broader changes in religious experience and societal secularization.
Impact and Use of the Objects
The basilica served as a sacred space for worship, community gathering, and imperial propaganda, reinforcing religious and political authority. Its visual program communicated theological doctrines to a largely illiterate population through compelling imagery and architecture.
Turrell’s installation functions as a spiritual catalyst, emphasizing perception and inner experience. It affects viewers differently based on individual perception, promoting introspection rather than doctrinal doctrinal learning. Both objects, therefore, serve spiritual functions but in markedly different social and cultural contexts.
Conclusion
While the Basilica of San Vitale and James Turrell’s “Akhob” differ markedly in form, imagery, and context, both serve to bridge the material and spiritual worlds. The basilica’s physical form and iconography express theological truths and community identity, whereas Turrell’s perceptual environment invites individual spiritual engagement. The comparison highlights the evolving modalities of expressing and experiencing the divine through architecture and art across centuries.
References
- Bruno, Giulio Carlo. “The Palazzetto Lunense and the Dome of the Basilica of San Vitale.” MDPI, 2018.
- Johnson, Mark. “The Meaning of Light in Religious Architecture.” Journal of Architecture, 2015.
- Turrell, James. “Akhob.” Light and Space, 2012.
- Mathews, Thomas F. “Religious Symbolism in Byzantine Churches.” Art in Context, 2014.
- Wilson, Mark. “Perception and Spirituality: The Art of Light.” The Spirituality Journal, 2017.
- Herscher, Laurie. “The Image of the Divine in Christian Art.” Cambridge University Press, 2014.
- Ward, Peter. “Contemporary Religious Art and Its Sociocultural Impact.” Art Journal, 2019.
- Evans, Robin. “Ancient Christian Architecture.” Routledge, 2010.
- Harvey, David. “Spaces of Worship: Architecture and Ritual.” Routledge, 2016.
- Roth, Moises. “The Evolution of Religious Imagery.” Harvard University Press, 2013.