The bronze doors commissioned by Bishop Bernward for Hildesheim Cathedral in Germany, and completed in 1015, are one of the most seminal works of early Medieval art. They represent an interest in reviving the art of bronze sculpture from antiquity, which we saw already in class as practiced in the ancient Near East and Etruria. They also demonstrate the continued interest in the medium of relief sculpture as a means of conveying narrative (which we have seen in the Parthenon metopes and the Arch of Titus in Rome). The small vignette here shows the angel expelling Adam and Eve from Paradise after they have eaten the forbidden fruit and committed Original Sin. How do the representation of figures and choice of details included in this sparse composition convey that story? You might also comment on how this relief sculpture differs from the narrative movement and drama of the Arch of Titus frieze we discussed last week.
It is almost as though the Greek/Roman obsession with portraying the ideal human physique that embodied perfect proportions and muscular shape has spoiled me that I feel art had even "regressed" in looking at the Medieval portrayal of humans in this piece. While the Greek depiction of humans could be considered to have derived from their characteristic glorification of humans, the Medieval portrayal seems to have derived from quite the opposite as the work narrates the eternal doom of the human race. Even based on my limited knowledge about the medieval times, I know that such a dark theme in the art is consistent to the gloomy and somber atmosphere of the era.
ReplyDeleteAs opposed to the dynamic composition of the Greek Art that almost seems intentional to explore the movement of human bodies, the composition of this medieval work seems sparse and reserved. Nothing is magnified or dramatic as was often son in the Greek Art; in fact, the subjects, even the ones in relatively more dramatic poses, seem to be there more to serve the role of telling a narrative rather of capturing the essence of a dramatic moment.
Jee, you are right that the reliefs on the Hildesheim Doors represent an entirely different approach to the body than we saw in Greco-Roman antiquity. Far more than emphasizing the naturalistic portrayal of the human physique, the goal here is to express the inherent shame and sinfulness of the bodies of Adam and Eve as protagonists.
DeleteThough this sculpture is indeed quite simple, certain clues allude to the story that it conveys. On the left hand side, we see a winged, angelic figure among serpent like plants. His head is carved in very high relief, highlighting his halo and making it clear that he is, in fact, an angel. He is pointing forcefully toward the figures on the right, who appear naked and shameful as they are cast out of the land. The woman's facial expression is one of deep concern and we can gather from the position of their hands that they have recently grown ashamed of their naked bodies as they are banished from the Garden of Eden.
ReplyDeleteThis relief differs greatly from the Arch of Titus frieze in that here, the figures are far less realistic and the composition is simpler overall. In the previous frieze, we see a multitude of characters depicted at many different depths within the sculpture. This creates an amazing illusion of depth and brings the viewer into the piece. In this sculpture, only three figures are shown and very little variety is used in the depth of carving. The figures are also far less realistic and we can see that there proportions are not correct. Though these pieces show different levels of skill and detail, they are both wonderful depictions of ancient narratives.
this is a really excellent analysis, Roy! especially insightful points about the use of high relief to convey emphasis in the narrative
DeleteI find it highly interesting how unlike Greek sculptures, the figures here have unideal body proportions. The Angel, Eve, and Adam's heads all appear abnormally big, especially because the artist chose to give them extra depth and dimension. Also, unlike the Woman of Willendorf, Eve's reproductive organs are either extremely small or covered by her hand. Adam is also covering his genitals in shame, which gives an explanation of the narrative. It allows viewers to realize what scene from Genesis is being captured (Adam and Eve become ashamed of being naked after biting into the fruit of Good and Evil). The way Adam and Eve walks away from nature and walks toward buildings also symbolize how after committing sin, humanity had to go through labor (such as building buildings) in order to live.
ReplyDeletegood point -- the covering gesture shows us very clearly that this is a moment after Original Sin
DeleteThe positioning of Adam and Eve's legs indicate that they are walking away from the angel and Paradise and towards the city. The two figures cover their naked bodies with shameful expressions as the angel's outpointed finger suggests chastisement. In contrast to the Arch of Titus frieze, the bronze doors have less overlapping. Whereas the strong horizontal directionality of the Arch of Titus frieze suggests quick movement from one end to the other, the relative simplicity of the narrative on the bronze doors holds your eye in one place for a longer duration of time.
ReplyDeleteExcellent observation! The Arch of Titus frieze does indeed have greater directionality and implied movement, whereas here the viewer is suspended within the tense narrative action, much as Eve herself hesitates to make the exit from Paradise.
DeleteThe small vignette features the angel on the left and Adam on the right; this puts Eve in the center, which makes her the focus of the frame. Adam and Eve are turning away from one another. This body language highlights the resentment and uncomfortableness that Adam and Eve share between one another. Eve is also covering her face, as she is forced to leave by the Angel. This illustrates the shame of Eve that the artist must have tried to convey. Both Adam and Eve are also covering their genitals, which shows their loss of innocence as they must leave the Garden of Eden. The tree between Eve and the Angel is also supposedly the same wood that was used to make the crucifix for Jesus Christ. This little detail connects the multiples vignettes on the door. This very much contrasts the Arch of Titus frieze especially when focusing in on the Triumph of Titus. There is significantly more detail to exaggerate the spoils that Titus has gained. The exorbitant details of this frieze plays up the reasoning for celebration; contrary to the vignette because the sparseness evokes feelings of emptiness.
ReplyDeleteabsolutely, Julia! The density of figures and details in the Arch of Titus frieze emphasizes a moment of victory and triumph whereas here the sparseness already suggests what life will be like for Adam and Eve in the earthly realm beyond Paradise.
DeleteThis relief sculpture conveys the story of Adam and Eve through minimal use of drama and emotion. It is difficult to see the facial expressions of the three figures, so the carving tells the story through body positions. The pointing angel orders Adam and Eve away from the Garden of Eden, and Adam and Eve shamefully leave while trying to cover themselves. Therefore, instead of seeing Adam and Eve’s shame and anguish through their facial expressions, the viewer can infer these emotions from their body language. Adam and Eve are hunched, which helps to convey their shame while being expelled from Eden. In contrast, Arch of Titus frieze depicts a victorious march, as the men march with their heads high and proudly hold their spoils high above their heads. The narrative movement implies the continuation of this march of victory. However, Eve has her head turned back as she trudges with Adam away from Eden, which depicts the reluctance of Adam and Eve to leave the garden
ReplyDeletegreat point about how body posture takes the place of facial expression in this scene! the fact that this episode is just one of many scenes depicted on the Hildesheim Doors, and that many of those scenes are above eye level, means that the body rather than the face becomes more crucial to conveying narrative
DeleteI also notice that the surrounding backgrounds on the left side and right side are different. Perhaps, the plants on the left represent heaven, while the house on the right symbolizes the mundane world world where ordinary people live. Additionally, although we can't see the facial expressions of Adam and Eve, we can still feel their sense of humiliation through their poses. They are portrayed hunchbacked, and both of them are naked. At the same time, we can see the angel pointing at them furiously. These all details contribute to the narrative of the story.
ReplyDeleteCompared to the Arch of Titus, the relief of this sculpture is much shallower. The portrait of the drapery is also less meticulous. This figures in this sculpture seem to lose the sense of weight we used to see in sculptures from Ancient Greece and Ancient Rome.
interesting point about the shift in scenery from left to right!
DeleteThis relief sculpture is very similar to other archaic sculptures that we have viewed by societies of Egypt and Mesopotamia for its use of composite postures. The poses of the figures are generally awkward and unnatural, due to the twisting of the form, communicating how Adam and Eve are now uncomfortable in their naked form after committing the Original Sin. The angel holds a powerful pose, with his arms raised and his feet moving toward Eve as if it is a threat. Eve's pose is open and vulnerable, and almost indicates that she has stopped moving, to guiltily look behind her and see what she is leaving behind. Adam's pose is closed-off and resigned, with a higher relief around his torso, to emphasize his ribs (a key part in the creation of Eve).
ReplyDeleteThe artist used higher and lesser relief to emphasize details in order of importance. This is unlike the use of relief in the Parthenon, where it creates a sense of depth and perspective. The figures are in higher relief than the rest of the details of the vignette, allowing for more shadows to add emphasis to the draw the viewer's eye. Also, even though the Gate of Eden should technically be at the same level as Adam, it is in lower relief as to communicate that the outside world is literally lower than Paradise. In contrast, the plants, which are in higher relief, emphasize the beauty, life, and prosperity that Adam and Eve are leaving behind.
It's also interesting to note the placement of the scenes in relation to the others. The doors seem to read from top to bottom and from left to right. This means that in order to read it correctly, viewers have to look up (in awe) to the tops of the gigantic doors. Viewers are thus fully aware of the size and weight of the door, and therefore the power and wealth of the Church. Also, assuming the height of the door from the location of the door handles, the panel is placed at eye level of the viewer. This is intended to be intimidating, because the viewer would then ultimately be reminded of the Original Sin and punishment. Also, the scene moves in the same direction that the viewer would move in when entering the cathedral.
nice emphasis on the physical scale of the doors, and interesting observation about how the low relief of the gate through which Adam and Eve are exiting suggests the less heavenly realm into which they are banished!
DeleteFor me there are a few main points that convey the expulsion from Paradise:
ReplyDeleteFirst the decorative plant structures help convey a larger surrounding of plants, but they also have a certain symmetry and order in their formation that can point us to something much more divine.
Next we have the Angel amidst the plants, head bent as if in sorrow, his open body position working as a barrier and sign that the couple is clearly separate from his own space. He is also rendered in the most detail, representing the divine and possibly the reason for his detail.
The couple is naked and heads bent in sorrow, body positions closed and turned away from the Garden and Angel. They are also meticulously covering their genitals as they continue towards the new "civilization of man" they will have to build on their own. Eve also seems to look back and share a special look with the angel, hinting at the fact that the Bible blames Eve for the cause of original sin and the Fall. The depth of the relief really draws us towards the figures and the way they interact: Angel looking down in punishment, perhaps toward hell, Adam off towards the future home he must build, and Eve caught in the middle of self-blame.
good point about the plants being suggestive of the Cross on which Christ (whose life is depicted on the opposite side of the doors) will be crucified -- even the few details included here work in the service of typology, as we discussed in class
DeleteThrough Adam and Eve's body language, we are able to understand the story better than through their facial expressions. Their backs are hunched over and they are covering their bodies in humiliation. Their poses are also quite awkward, indicating their uncomfortableness in the situation. Because of how simple the scenes are, compared to the frieze, the eye moves much slower across the scene and takes more time to appreciate every detail. This also puts more emphasis on each scene, as there are fewer scenes and each scene is not too detailed.The frieze convey much more emotion and drama because more time is dedicated to portraying that emotion through facial expression and small details such as muscles and limb placement.
ReplyDeleteyes, another good observation about how the duration of viewing the Hildsheim scenes is slowed by the comparative sparseness of the compositions and emphasis on a few key figures
DeleteThis small relief from the bronze doors has less elements than many of the friezes we have already seen. The story conveyed here does not require many different characters; only three people are needed to convey the story. Therefore, there is a lot of negative space left to fill in and help with adding detail to the story. Focusing on the three figures, the angel is much more elaborate in dress than the naked Adam and Eve figures. This gives us a contrast of the status of the angel compared to Adam and Eve. In addition, the angel’s stance is more confident and stable as we get a front facing view whereas Adam and Eve are sideways and back facing. Adam and Eve are seemingly cowered and hunched over. The angel also has more of an air of importance because of his commanding point to Adam and Eve.
ReplyDeleteDetail can also be added to the background to help the story. The plant-like images on the left of the relief have enough information to convey the Garden of Eden, if the entire relief was placed in context that prompted the biblical reference. Adam and Eve walking away from this garden looking dejected (as inferred from their stance) can piece together the story that they are ashamed of something and are being punished.
In short, the detail portrayed in this small relief contribute to the emotion and plot of the story illustrated.
absolutely, the difference between the strong posture of the angel and the defeated and shameful poses of Adam and Eve is very striking!
DeleteThis relief is significantly less dynamic than the frieze from the Arch of Titus, which emphasizes the misery and isolation of Adam and Eve. Their faces seem similarly depicted, which suggests that the viewer can recognize them based on knowledge of the story, as opposed to the accuracy of their rendering. There seems to be a lot of negative space, and the figures are in what appears to be a high relief with mere suggestions of a location. The majority of the figures appear in the center of their vignettes, which could allow the vertical orientation of the piece to be accessed more easily, as opposed to the often-filled horizontal bands of the friezes we have been looking at. Naturalistic detail does not seem to be the goal, as the plants have an anamorphic quality to them that reminds me of the snake in the biblical story.
ReplyDeleteanother interesting point about the plants in the background, which do indeed have an anthropomorphic quality, almost as if they are living figures themselves
DeleteIt is very noteworthy (as others have pointed out) that the portrayal of human proportions is much less ideal than in Hellenistic sculptures. This relief does have varying depth, as many have pointed out, but it does not have as many layers as the sculptures on the Arch of Titus does. Another important thing to note is that the subject of this relief is religious, while the Arch of Titus was much more monumental. The Arch's function as a monument intended for personal glorification as compared to this bronze relief intended to depict a religious scene may help to explain the lack of detail/ sparse number of characters on the Cathedral doors. The purpose of the bronze sculpture was to help depict for a viewer a narrative, which is best done in simple terms, so that there is little confusion as to what is happening in the scene. The choice to depict only the most necessary elements in the story of Adam and Eve was most likely to help the reader absorb the story without being distracted or confused among layers and layers of information.
ReplyDeleteRuth makes an excellent point about how the difference in function between the Arch of Titus and the Hildesheim Doors accounts for the different kinds of emphases we see in terms of monumentality, portrayal of the figure, and the emphasis on details. It is also absolutely true that the spareness of these scenes serves to make them more legible to the viewer, like a picture book of biblical narrative.
DeleteI think the curly and distorted stem of the flower might indicate evil. And the background on the left may symbolize the mundane world.The angel points his finger to Adam and Eva, suggesting anger and the determination to expel them. And his left foot is slightly lift, showing a sense of movement. The obscurity of the angel’s face renders the scene more mysterious. And I think the way it portrays people is related to Egyptian art. It represents shoulders in a front view but portrays feet as profile. And it is very interesting that how the artist tried to represent Adam and Eva’s frustration and sadness. Their bent back and powerless muscle both show their frustration and tiredness. Because Eva is turning around and looking back to the angel, it is probable that she is not willing to leave.
ReplyDeleteSherry is absolutely right that Eve's posture conveys to us her lack of acceptance of her fate, in difference to the more resigned Adam.
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