Gothic art astonishing imagery energize people for the Christian church
High Gothic art period of European history created with wealth and belief in God
Jesus is given the cross, 7 Stations of the Cross, Maihingen, Germany ca.1300, Glass and lead, Anonymous
A display of innovative Gothic art techniques
The poet Samuel Taylor Coleridge said: “The principle of the Gothic architecture is infinity made imaginable.” It is hard to believe that Gothic art and architecture can accomplish this, yet somehow, they can.
Jesus is crucified, 7 Stations of the Cross, Maihingen, Germany ca.1300, Glass and lead, Anonymous
The exhibition High Gothic: Christian Art and Iconography of the 13th – 14th Century was put together to display the wealth of innovative craftsmanship, techniques, materials, and media used to create Christian iconography during the High Gothic period of European history.
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Part of the purpose of this exposition is to highlight the contributions made during the Gothic period (12th-16th centuries) that are too often overshadowed by the enlightened Renaissance period (14th-17th centuries).
Jesus is laid in His tomb, 7 Stations of the Cross, Maihingen, Germany ca.1300, Glass and lead, Anonymous
This ‘shadow’ began when Renaissance artists labelled the period Gothic because it coincided with the decline of the Roman Empire.
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It also crowned the Renaissance world view ‘victory’ of a belief in humanism and the temporal over a belief in God and the afterlife. During the Renaissance, gothic was a synonym for barbaric.
Relief Panels, The Life of Mary, Italy, ca. 1340–1360, Marble, Attributed to the Circle of the Master of Viboldone Lombardy
Yet, somehow gothic art still influences culture, literature, and visual arts in mediums like video games, comics, movies, clothing, and make-up.
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In the twelfth century, Early Gothic architecture developed in Northern France as new technologies were applied to renovate and rebuild churches designed using traditional Roman architecture.
Retable Element of the Infancy Cycle, Northern Spain or Northern France, 14th-15th century, Oak, Anonymous. Rare themes and intimacies feature in this series of carvings, such as Mary nursing the Christ Child in the Nativity
Other European countries adopted and evolved the new building techniques and churches got taller.
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The High Gothic period, which spanned 1195 to 1250 AD, was characterized by these taller and more elaborate cathedrals. The Rayonnant period followed with a greater expanse of stained-glass windows.
Late Gothic ostentatious architecture led to Renaissance designs
The Late Gothic period was characterised by a multiplication of ribs, arches, and pinnacles for design, not structural reasons. This ostentatious type of architecture eventually led to Renaissance designs.
Virgin and Child, China, Ming Dynasty (1368-1644) Sandstone, Anonymous
Ribbed arches and flying buttresses were the technologies that enabled the lighter and thinner walls that could be made taller as well as provide space for stained glass windows.
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Ribbed arches and flying buttresses distribute weight both upward and downward to rows of pillars rather than relying on thick walls to support weight. Weight bearing pillars allowed space for stained glass windows.
Kneeling Saint or Donor. Attributed to the Circle of Edvard d’Orleans IIe-de-France, France, ca.1325-1350, Limestone
As the demand for these windows increased, so too did the skills of the craftsmen. They discovered how to add metallic oxides to colour glass.
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Iron oxide for green, tin oxide and arsenic for emerald-green, cobalt or nickel for black and blue, copper oxide for turquoise. Yellow glass is made with silver nitrate.
Saint John the Evangelist, Castile, Spain, ca. 1300, Poplar, Anonymous. The tilt of his head suggests that this figure flanked a Christ on the Cross.
Red glass was too dark to allow light to pass, so a ‘flash’ technique was invented whereby a small amount of molten coloured glass is laminated over clear glass.
Technologies conquered limitations and drove design
As technologies conquered construction limitations, aesthetics drove design. The ribbed and pointed arches as well as the flying buttresses provided perches that could be used to mount statues.
Canopy, France, Ca. 1340, Limestone, Anonymous. This canopy displays the hallmarks of Gothic architecture, including six-pointed arches and crenelated turrets.
Gargoyles adorned rainwater drains. It was found that architecture could teach theology to the illiterate.
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The thin walls and gravity defying ceilings seemed miraculous and drew eyes upwards to heaven. The walls and ceilings housed paintings, tapestries and statues that told stories of the Bible.
Cutting from a Psalter, Germany, Ca. 1250, Tempera, gold and ink on vellum, Anonymous. The initial Q – “quid” – is depicted with Saint Michael the Archangel spearing a dragon in its mouth
The vast and open interiors gave an angelic sound to choir voices as they sang their praises to God. But it was the stained-glass windows, that used God’s light itself to tell Christ’s story, that drew the most attention.
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The Gothic age was prosperous because of the rise of towns and trades and the growing influence of a centralised church. Money was available to build churches and cathedrals, which soon became important public landmarks.
Textile from a Chasuble, Italy, 15th century, Velvet, Anonymous. The embroidered textile depicts Christ bleeding on the Cross. The Chasuble is a large, poncho-like garment worn by clergy during Mass
These buildings were designed to inspire awe, to encourage a belief in an all-powerful God and to create a sense of heaven on earth. They also impressed upon people the power and immense wealth of the church and its patrons.
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Museum director Dr Florian Knothe said he brought together items for this exhibition to introduce this art form, time period, and culture, as it is not well known in Hong Kong.
Miniature on a cutting from Jean de Vignay’s Les Epitres et Evangiles, possibly Paris, France, ca. 1410-1420, Tempera and gold on vellum, Anonymous. This depicts Christ with the Apostles
He believes the stained-glass windows came from a small church in the south of Germany, but many of the other items came from across Europe.
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On display are tapestries, wooden and stone statues, manuscripts, and portable sculptures made of ivory.
Diptych, Germany, late 14th century, Ivory, Anonymous
That so many of these artifacts have survived over six centuries is a testimony to the volume of artifacts created at that time, and to the wealth that made possible the importing of ivory, gold and pigments and advances in technologies from architecture to glass and book making.
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That said, evidence of destruction can be seen. Statues with missing heads and limbs, manuscripts with only a few surviving pages and in many cases the churches, abbeys and hospitals no longer exist.
Medieval stained-glass panel
As an interesting side note, during World War 2, the stained-glass windows on display here were taken out of the church by its patron family and stored very securely.
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This exhibit provides an opportunity to see ancient stained-glass windows up close and without having to look up or wait for the sun to be correctly positioned. Although behind glass, the colours and intricate details of the tapestries are clearly visible.
Jesus is betrayed by Judas, 7 Stations of the Cross, Maihingen, Germany ca.1300, Glass and lead, Anonymous
Likewise, it is amazing to see ancient wood sculptures that have retained some of their original colours. And the framed hand painted manuscripts created before the invention of the printing press are an enchanting study.
Biblical stories are told using the best materials money can buy
Finally, there are the portable sculptures made from ivory for purchase by the rich. Italian traders bought African elephant tusks from trans-Saharan merchants.
Cutting from a Psalter, Southern Germany, mid-13th century, Tempera, gold and ink on vellum, Anonymous. The historiated initial Q features Saint Michael standing on the dragon and spearing it in its mouth.
They shared many characteristics with other art forms. They had micro-architectural features such as arches and towers.
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Like manuscripts and sculptures, they were also decorated with gold and pigments.
Illuminated manuscript leaf featuring four biblical scenes, France, ca. 1320, Tempera, gold and ink on vellum, Anonymous
What brings all these art forms together is the Christian iconography. Biblical stories are told using images with all the talent, technology and materials money can buy and it was, and is, effective.
Label Stop, Foliate Green Man, Lincolnshire, England, 14th century, Limestone, Anonymous
Even today, stained-glass windows and intricate ivory carvings hold a fascination that draws the eye and encourages a curiosity that all good art provokes, and perhaps it still has the power to inspire awe and faith in the Christian God.
Text Martin Wray / Photos Cammy Yiu & Martin Wray
