Romanesque Art
History of Romanesque Art:
The term “Romanesque art” refers to an art movement that emerged in Europe from the 10th century to the mid-12th century, beginning with the Norman conquest of England in the year 1066. In England, it is known as the Norman style, while in Europe, it is referred to as the Romanesque style. The Norman invasions in 1066 led to the disappearance of the Anglo-Saxon aristocracy in England. Additionally, the influence of the Catholic Church over England diminished, and by the year 1075, all dukes were under Norman control.
The Normans, who gained control of southern Italy during the 11th century, conquered Sicily from 1061 to 1091 and established a powerful city-state in Sicily and southern Italy by the 12th century. The collapse of the Italian kingdom during this period led to the formation of numerous city-states. The 11th and 12th centuries witnessed a trade boom in the Mediterranean, making cities in northern and central Italy wealthy and significant. However, the Normans hindered the autonomy of these independent city-states in the south.
The Normans, who invaded England in 1066 and gained control of Italy, also introduced a new architectural style. In England, it became known as the “Norman style,” while on the European continent, it was called the “Romanesque style.” Romanesque art, generally accepted to have begun in the 1050s, marked a rejuvenation period for Europe.
Romanesque Art:
When we think of Romanesque art, the first things that come to mind are the grand monastery structures of the Middle Ages. These are complex constructions that encompass not only religious but also social and cultural activities. Romanesque churches, with their thick stone walls, massive towers, and imposing appearances, sometimes resemble a castle. The Romanesque architectural style is found in various regions of Europe, but the most typical and monumental examples are concentrated in Germany, France, and England.
In the decoration of churches, angels, saints, and prophets are hierarchically represented. The depiction of the Father is absent. The most sacred figures are portrayed in the apse and dome. From the apse to the exit, and from the dome downward, the sanctity decreases. Beginning in the 9th century, the iconographic hierarchy develops, starting with Jesus Christ in the main dome, followed by Mary, the Gospel writers, the Old Testament prophets considered to be ancestors of Jesus, the Apostles, saints (in Orthodoxy, there are more than 400 saints, including the semi-saints called osios and those whose sanctity is not complete), martyrs, bishops, emperors, and monks.
In churches, paintings appear as works of religious content depicted on the church walls. Two-dimensionality prevails in religious paintings, with perspective yet to be discovered and a tendency towards linear stylization. The colors used are primarily yellow or red earth tones, along with green, white, and black. These colors are used to emphasize the lines of the architecture and sculptures and often cover the walls with small shapes arranged horizontally. Unlike the architecture and sculpture that severed ties with previous traditions, mural painting is part of the continuation of early medieval painting, both technically and iconographically.
Biblical scenes and sacred figures, often accompanied by colored captions, are popular. Every space without small figures, either sculpted or painted, is adorned with colorful decorations. Faux stone masonry decorations, drawn with red slip paint on a coarse plaster covering to conceal poor workmanship, are frequently seen. As mosaic, which was expensive, fell out of favor over time, wall painting, appearing less costly, simpler, and more fitting to the tastes of the period, took precedence.
While paintings occupy a significant space inside buildings, they are also frequently encountered on the exterior. Only a small fraction of the thousands of paintings created during the Romanesque period, similar to those from the Middle Ages, have survived to the present day. Numerous transformations, decorative changes, and extensive restoration efforts since the 19th century have led to the disappearance of a large part of these paintings since the Middle Ages.
Roman painters, although they could not reach the mastery of ancient artists, worked with painting on wet plaster, known as fresco, rather than dry plaster. Applying paints to freshly laid plaster allows the colors to penetrate deeply, resulting in colors that almost do not fade. The difficulty of this technique, which requires completing the scene before the plaster begins to dry (usually within a few hours), often forces artists to complete certain parts of the scene while they are still dry, such as facial features and details in clothing. These parts are therefore more fragile and difficult to preserve. The most well-known example of the painting technique on plaster is the Basilica of San Vincenzo.
Romanesque Sculpture:
One of the main features of sculpture in this period is the inclusion of sculptures in churches for the first time, approximately 600 years later. Sculptures were integrated into the architectural structure, with religious sculptures in churches emerging not for decorative purposes but as compositions depicting religious subjects. The goal was to depict the “divine truth.” Romanesque sculptural art cannot be separated from architecture. The façade of the Notre-Dame Church in Poitiers, completed in the 11th century, features numerous relief figures standing, sitting, and grouped around a theme. These reliefs not only splendidly adorn the façade but also infuse it with movement and a lively breath.
Romanesque sculpture, occupying a significant space not only on facades but also within the interior, is closely tied to architectural elements. Columns and pilasters with intertwined figures are some of the most interesting examples. Some column capitals have almost transformed into sculptures in their own right.
Iconoclasm:
Iconoclasm is a deliberate attack against a culture’s religious icons, symbols, or monuments that is motivated by religion or politics. Iconoclasm has been done out by members of various religions, but it frequently emerges as a result of sectarian conflicts within the same religion. The two Byzantine Iconoclastic movements of the eighth and ninth centuries stand out, with the primary emphasis of the dispute being the use of images. In Christianity, the major cause for iconoclasm is the prohibition on worshipping “graven images,” as interpreted in the Ten Commandments.
In Christianity, the relationship between the image ( the icon) and its meaning always caused conflict. The people who are supported the anti-iconoclasm believed that the idea of the images of the christ are the representation of his physical appearance not its spritual nature. Regarding that, the image of christ is the representation of the christ or an abstract colorful scheme on a flat surface illustrated by lines and has no relationship with christ.
