9. The Church Militant

(E.H.Gombrich/The Story of Art)

-The twelfth century

-ノルマン・コンクエストと十字軍で建築様式が一変、東方教会の表現技法も入ってくる

-当時、たとえば村の中で石造りの建築物は教会だけだった。圧倒的な／拠り所としての存在、村の象徴

-自然に即した表現よりも、教えを浸透させるために宗教的な象徴をいかに織り込むかが制作の要となる

No complete buildings have survived in England from the Saxon period, and there are very few churches of the period before that date [1066] still existing anywhere in Europe. (129)

The style in which these buildings [abbeys and minsters] were erected is known as the Norman style in England, and as the Romanesque style on the Continent. (129)

The Church Militant — the idea, that is, that here on earth it is the task of the Church to fight the powers of darkness till the hour of triumph dawns on doomsday. (130)

the lion for St Mark, the angel for St Matthew, the ox for St Luke and the eagle for St John (132)

The twelfth century is the century of the Crusades. There was naturally more contact than formerly with the art of Byzantium, and many artists of the twelfth century tried to imitate and emulate the majestic sacred images of the Eastern Church. (134)

the artist was not concerned with an imitation of natural forms, but rather with the arrangement of traditional sacred symbols (135)

As with forms so with colours. (136)

It was this freedom from the need to imitate the natural world that was to enable them to convey the idea of the supernatural. (136)