Religious imagery has evolved – from an appreciation of spirituality to a damning critique of religion’s role in society. Significant contributions have been made by artistic eras of religious imagery, including the Medieval and Baroque to modern twists. Yet, does this evolution suggest a pivot from ascribing importance to religion to a slow denigration of its past ideals?
As just one aspect of ‘visual culture,’ religious imagery has played an instrumental and influential role on society over time. Religious sentiments have long been communicated through cultures in the form of artistic Imagery, denoting the historical era and geographic location of a time period. What this imagery communicates can cultivate the environment it inhabits, influence contemporary beliefs and structure people’s identities.
When recalling early Medieval works, the heritage of iconography from the early Christian church is noticeable. This era underscores distinct craftsmanship and innovative stylistic choices representing Christian symbolism in art across Europe. The iconic image of Duccio’s Madonna and Child (13th – 14th century) is an evocative picture of devotion and intimacy between Mary and the Christ Child. Unlike typical Byzantine iconography, Duccio’s attention to objects such as the parapet, the careful expression of the Virgin and the childlike manner of Christ reveals a palpable closeness. This is a touching incision that lets the viewer into their sacred relationship.
To the spiritually enticed, the features of Byzantine influence, seen in the oval shape of the Virgin’s face, embody the divine and sacred in art. Religious icons were carried by the spread of Christianity from the empire. The spiritual adherence to icons could no doubt be credited to their aesthetic style, symbolic Imagery and rich colours. As the time period shifted into a storm of iconoclasm, the sacred continued to be appreciated, but with an emotional depth that mirrored or perhaps exceeded the Virgin’s hopeless expression.
The period of Iconoclasm (regarding the destruction or removal of icons in images) saw a mass censoring of religious art, as the Renaissance period took shape. Just after da Vinci’s mural, The Last Supper (1495-1498), was produced, Iconoclasm emerged from German and Swiss territories in 1521. In his book Reformation and the Visual Arts: The Protestant Image Question in Western and Eastern Europe, Sergiusz describes people performing ritual acts of destroying images to preserve their old faith. Whilst the realism of da Vinci’s renowned work resonated with so many, hostility to religious imagery surged in parts of Europe and beyond.
Regardless of the measure of erasure, there was a ‘gulf’ between the Christians who developed polarising relationships with religious imagery after the Medieval period. By refining perspective, spatial acuteness and anatomical accuracy, da Vinci nonetheless conveyed an intricate emotional landscape. It sprung forth to mind a fear-struck devotion, with a classic hint of betrayal. This type of religious imagery was engaged in daily admiration, much to the dismay of some religious groups.
By the turn of the 17th century, Baroque artists carved the scene with drama, following the High Renaissance. Caravaggio’s Beheading of Saint John the Baptist (1608) and Rubens’ Descent from the Cross (1614) engage with striking scale, darkness, emotive despair and dramatic movement.
The two masterpieces, alongside Rembrandt’s The Return of the Prodigal Son (1661-1669), craft light and shadows to move the viewer into a pensive state of piety. Biblical parables, often involving a harrowing theme, unfold like a dark dream to the audience. Brushstrokes full of depth penetrate the emotional surface, making it readily discernible from the pure flatness of Medieval religious art.
Bold colours and interesting contrast flirt with an idealistic and venerated image of Christ, which aligned with contemporary Catholic sentiments. The Counter-Reformation period saw the portrayal of Christ in art evolve from simpler depictions to a complex and affected Saviour. At the same time, Ruben transforms the Image of the Virgin, traditionally bowed head and subtle expressions, into an active and supportive figure in the descent of Christ from the Cross. This change in imagery, reflected by a changing audience, illuminated different aspects of Mary’s role in the life of Christ, and was finally being appreciated in art form.
Oxford is also home to many religious artworks. Keble College holds William Holman Hunt’s The Light of the World (1853). Inspired by the Renaissance, this pre-Raphaelite painting has toured the world and is known to be one of the most viewed art pieces of the 20th century. The works of Rubens, da Vinci and Veronese also feature in the Picture Gallery at Christ Church. The Ashmolean has a beautiful collection of religious pieces, such as Fra Angelico’s Virgin and Child with Saints (1390/95-1455), exhibiting a Renaissance presentation of the Virgin that contrasts with the Baroque depiction.
However, the image of religious figures like Christ has not always been depicted conventionally. Andres Serranos’ Piss Christ (1987) plays with perspective as the viewer is challenged to, overlooking its material, accept an aesthetically beautiful picture of Christ. In modern times, AI-generated icons similarly reproduce religious images instead of the standard canvas, questioning the perception of religious icons, beliefs and ideas through new-wave mediums.
This symbolic unfiltered likeness of Christ can barely be said to critique religion’s role in society. Serrano claimed that he was not aware Piss Christ would “blow up” the way it did, admitting he has been “a Catholic all my life.” Despite the national controversy, the artist refutes having any intention to stir trouble implying that his role as an artist merely yields different creative results as a follower of Christ.
In an increasingly secular world, conveying religious meaning traditionally is regarded as an archaic echo of the past. To emulate Medieval, Renaissance, or Baroque religious zeal would be considered unfitting to today’s religious environment. This solemn focus on religious archetypes and symbolism competes with a modern visual culture that embraces a multicolour of faiths, including the growth of non-religious art.
Blending human curiosity with the unknowable Divine, this bold evolution has seen the survival of religious imagery in unusual forms, from generative AI tools to abhorrent photography practices. As time progresses, devoted outlooks to religious imagery clash captivatingly with the obscene and mundane. All this only provokes the question: how far down the creative rabbit hole can we go before religious imagery ceases to adhere to any religious ideals at all?
