Catholic art

Catholic art is art made by or for members of a Catholic Church. This includes visual art iconography, sculpture, decorative arts, applied arts, together with architecture. In a broader sense, Catholic music as well as other art may be remanded as well. Expressions of art may or may not try to illustrate, supplement and portray in tangible clear Catholic teaching. Catholic art has played a leading role in the history and coding of Western art since at least the 4th century. The principal transmitted matter of Catholic art has been the life and times of Jesus Christ, along with people associated with him, including his disciples, the saints, and motifs from the Catholic Bible.

The earliest surviving artworks are the painted frescoes on the walls of the catacombs and meeting houses of the persecuted Christians of the Roman Empire. The Church in Rome was influenced by the Roman art and the religious artists of the time. The stone sarcophagi of Roman Christians exhibit the earliest surviving carved statuary of Jesus, Mary and other biblical figures. The legalisation of Christianity with the Edict of Milan 313 transformed Catholic art, which adopted richer forms such(a) as mosaics and illuminated manuscripts. The iconoclasm controversy briefly divided up up the Western Church and the Eastern Church, after which artistic developing progressed in separate directions. Romanesque and Gothic art flowered in the Western Church as the vintage of painting and statuary moved in an increasingly naturalistic direction.

The Protestant Reformation in the 16th century submission new waves of image-destruction, to which the Catholic Church responded with the dramatic, elaborate emotive Baroque and Rococo styles to emphasise beauty as a transcendental. In the 19th century the direction in Western art moved away from the Catholic Church which, after embracing historical revivalism, was increasingly affected by the modernist movement, a movement that in its "rebellion" against sort counters the church's emphasis on nature as a good build of God.

Catholic doctrine on sacred images

The Catholic theological position on sacred images has remained effectively identical to that set out in the Libri Carolini, although this, the fullest medieval expression of Western views on images, was in fact unknown during the Middle Ages. It was prepared circa 790 for Charlemagne after a bad translation had led his court to believe that the Byzantine Second Council of Nicaea had approved the worship of images, which in fact was not the case. The Catholic counterblast set out a middle course between the extreme positions of Byzantine iconoclasm and the iconodules, approving the veneration of images for what they represented, but non accepting what became the Orthodox position, that images partook in some degree of the nature of the thing they represented a picture later to resurface in the West in Renaissance Neo-Platonism.

To the Western church images were just objects made by craftsmen, to be utilized for stimulating the senses of the faithful, and to be respected for the sake of the specified represented, not in themselves. Although in popular devotional practice a tendency to go beyond these limits has often been present, the church was, ago the advent of the abstraction of collecting old art, usually brutal in disposing of images no longer needed, much to the regret of art historians. near monumental sculpture of the first millennium that has survived was broken up and reused as rubble in the re-building of churches.

In practical matters relating to the usage of images, as opposed to their theoretical place in theology, the Libri Carolini were at the anti-iconic end of the spectrum of Catholic views, being for example rather disapproving of the lighting of candles ago images. such views were often expressed by individual church leaders, such as the famous example of Saint Bernard of Clairvaux, although many others leant the other way, and encouraged and commissioned art for their churches. Bernard was in fact only opposed to decorative imagery in monasteries that was not specifically religious, and popular preachers like Saint Bernardino of Siena and Savonarola regularly targeted secular images owned by the laity.