Art of the Eternal , livre ebook

Author:
Victoria Charles

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ISBN: 978-1-78310-778-0
Victoria Charles



Art of the
Eternal
Contents


Introduction
I. Ancient Conceptions of Death and the Afterlife
II. Christian Doctrine of Death and the Afterlife
III. Visions of the Afterlife
Ancient Egyptians
The Etruscans
Relics of the Dead
Etruscan Doctrine of Death and the Afterlife
Ancient Greeks and Romans
Christianity
Early-Christian Doctrine of Future Life
Medieval Doctrine of Future Life
Modern Doctrine of Future Life
Christian Symbolism
God and the Trinity
The Cross
The Serpent
Symbols of Death
Purgatory and Hell
Heaven
Reincarnation and Enlightenment
Bibliography
Index of Illustrations
The Buddhapada, 1 st century BCE.
Limestone panel, 67.5 x 46.25 x 15 cm .
Great Stupa at Amaravati, Andhra Pradesh.


“ To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour. ”

— William Blake, Auguries of Innocence


Introduction


Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown ’ d,
Crooked eclipses ‘ gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty ’ s brow,
Feeds on the rarities of nature ’ s truth,
And nothing stands but for his scythe to mow:
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.

— Sonnet 60 , William Shakespeare


The mysterious preoccupation with death and the afterlife has been constantly explored and revisited throughout time. The harsh reality of death and the aging process, act as a foundation for the belief in eternal life. Human beings in hopes of evading death, seek satisfaction in imagining a source that could grant immortality. Throughout time, symbols such as the ‘Fountain of Youth’, the ‘Holy Grail’, and the ‘Philosopher’s Stone’ demonstrate both the alluring nature and popularity of this subject. As a result of nature, myth and religion, humans are continuously reminded of the impending notion of death. The stories of Sisyphus, Achilles, Icarus and a plethora of other legendary characters, act as didactic tools illustrating the impending fate that ensues when humans attempt to defy the laws and limits of the universe. Without death, humans would metaphorically be subjected to the fate of Sisyphus, with the unfortunate task of pushing a massive stone up a perpetual hill. Earthly immortality represents an unnatural entrapment which would greatly impede the cycle of life. The seasons constantly remind us of the transient nature of the universe; the revival and return of spring is dependent upon the dismal and sombre quality of winter. Mankind cannot escape death because it is deeply ingrained in the environment that surrounds it and therefore represents an integral part of what it means to be human.
However simply acknowledging the inevitability of death, does not provide us with the ability to perceive and understand the event itself. Human beings can prepare for the causes and circumstances of death, yet there is no explanation of the inmost reality of the fatal event. The circumstances of the mortal hour are infinitely varied, yet the crux of the experience is continually the same: there are a thousand modes of dying, but there is only one ‘death’. Therefore, recognising the possibility of an indefinable death implies the existence of an unknown, an extremely overwhelming realisation. In order to come to terms with this fact, humans shift their focus to the possibility of an afterlife, finding comfort in imagining its splendour. John Keats embraces this idea of the indefinite in his famous poem Ode on a Grecian Urn , expressing “Heard melodies are sweet, but those unheard / Are sweeter; therefore, ye soft pipes, play on;” (Keats, Ode on a Grecian Urn , lines 11-12). Evidently, believing in an afterlife alleviates the fears often associated with death. The dying Socrates said “that he should trust his soul on the hope of a future life as upon a raft, and launch away into the unknown.” No emblem of our human state, with their mysteries, perils, threats and promises, could be more impressive than that of a vessel launched into the great deep. Thus the imagination broods over both the prophetic warnings and alluring invitations characterised by these mysterious havens of eternity.
The obsession with the Eternal is deeply embedded within history; entire civilisations and cultures have developed belief systems surrounding the prospect of life after death. Elaborate art works such as sarcophagi, tomb relics, religious paintings and even more abstract pieces, provide an excellent socio-cultural lens in which to understand specific beliefs, rituals and philosophical concepts regarding the afterlife. In addition, the juxtaposition between art and excerpts of poetry and prose creates a dynamic force, demonstrating the sheer intensity of this topic.
The Great Pyramids of Giza , c. 2600 BCE and later.
Egyptian Old Kingdom. Stone, Giza.
Pieter Bruegel the Elder , The Triumph of Death, c. 1562.
Oil on wood, 117 x 162 cm . Museo Nacional del Prado, Madrid.


I. Ancient Conceptions of Death and the Afterlife

Examining Egyptian, Etruscan, Greek, and Roman works of art gives us an invaluable insight into some of the many ways that human beings prepared for death and the journey to another realm. The majority of the works of art within this chapter are tomb relics or other forms of funerary art which often depict the deities, ceremonies, customs and beliefs surrounding death and the afterlife. Exploring these cultures and their works of art collectively illustrates several of the recurring themes and beliefs that existed amongst these civilisations. For example each of these religions utilised some type of judgement process to determine the fate of the deceased, yet the details and myths surrounding this process are vastly different.
Titian (Tiziano Vecellio) Adam and Eve, c. 1550.
Oil on canvas, 240 x 186 cm . Museo Nacional del Prado, Madrid.
Théodore Géricault , The Raft of the Medusa, 1819.
Oil on canvas, 491 x 716 cm . Musée du Louvre, Paris
Auguste Rodin , The Gates of Hell, 1880-1917.
Bronze, 635 x 400 x 85 cm . Musée Rodin, Paris.


II. Christian Doctrine of Death and the Afterlife

The first section outlines the dominant Christian views regarding death and the afterlife. With an emphasis on Patristic, Medieval and Modern doctrines, this exploration of the future life discusses both the components that have shaped Christianity over time, and the debates regarding the different realms of the afterlife. The second part of this chapter focuses more on the Christian symbolism integrated into artwork itself and how it relates to death and the afterlife. The cross, the serpent, and various symbols of death are extensively discussed within this chapter, providing a more comprehensive study of Christ as Martyr, the Garden of Eden and heaven and hell. The art works within this chapter encompass mural paintings from the catacombs, representations of the crucifixion, ‘Vanitas’ sculptures and paintings and a plethora of other works.


III. Visions of the Afterlife

In addition to examining ancient civilisations and interpreting the ways in which people often came to terms with the advent of death, it is equally interesting to take a more symbolic approach exploring the subjective representations associated with the following aspects of the afterlife, purgatory and hell, heaven and Paradise and Reincarnation and Enlightenment. This section is intended to illustrate how artists visualise and imagine the unknown. From Islamic mosaics symbolising heaven to illustrations of Dante’s Divine Comedy , from sculptures and paintings depicting the life of Buddha to modern interpretations of Paradise, these works of art not only emphasise the obsession with death and afterlife, but also to show t