Tabernacle or Folding Shrine. Visual & Performing Arts Research Paper

Tabernacle or Folding Shrine
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Tabernacle or Folding Shrine
Introduction
In the 13th and 14th centuries, there was a rise in demand for small portable devotional shrines that were made of either metals or ivories with an elegant, tender and typical Virgin at the center. This study examines the Ivory Carving in the Gothic Era, 13th-15th centuries of the Tabernacle or Folding Shrine. The carvings of the wings are made stylistically rougher and basically richer in anecdotal charm. The Tabernacle of Folding Shrine is a polyptych statuette that dates back to 14th century and has a French cultural background. This study tends to provide description of a Gothic architecture and its influence on the later European architecture. There is full description of the object through the use of visual, size, textures, as well as materials. The description is done from the social as well as cultural context including the timeline of the sculpture which eventually conveys the particular purpose of the object. Visually the monument is made of ivory with metal mounts and the central panel is the statuette of the Virgin and the child. There are four hinged side panels that close around the central panel and serve the purposes of protecting the delicate central carving. As per description, the wings are carved in lower relief for the purposes of showing the scenes from childhood years of Christ. These carvings are done from every section, top to bottom, left to right. These include; the Visitation, the Annunciation, the Adoration of the Magi, the Nativity, and the Temple Presentation. It is interesting to note that in the scene where the Magi are presented, the Virgin and Child are missing. However, all the three Wise Men are presented facing the central Virgin and Child. The clear example as given by the Magi presents direction to the viewer on what is required of them which is: adore the portrait of the Virgin and Child.[“Heilbrunn Timeline of Art History: Ivory Carving in the Gothic Era, 13th-15th centuries.”] [Joseph, Natanson, “An essay on the art of ivory.” In Gothic Ivories of the 13th and 14th Centuries. London: Alec Tiranti Ltd., 1951.]
Style
The nature of the craft of ivory sculpture applicable in this case shows the epic of the ivory era of the 13th century, especially in France. There is much attention on every meaningful line that describes the facial features. This is for the purposes of depicting the prevailing emotions of the presented scene. The carving was less rigid but is full of expressions, therefore, replacing other styles that were stiff and less naturalistic. Mary is depicted as having emotions of concern and love towards the Child from the facial expression. The Magi is depicted as having faces full of admiration and adoration of the Child held in the Mother’s arms. One of the most recognized features of this artefact involves the aspect of being fluidly modelled as well having naturalistic drapery. The wrapping depicts individual drapery folds that clearly outline the different bodies in a subtle manner. The lines are very much recognizable since the sculpture is clearly shrouded with similarly folded drapery hanging loosely from all the bodies. Such continuous curving representation help in creating a visible shape that does not emphasize the actual figure of the sculptor. Even the Child Jesus, wearing a loincloth is represented through same individual folding of the drapery. The curly hair has been clearly defined and incised by the sculptor. Such representations help in keeping with the mood, emotions as well as the culture’s devotional character.[Norbert J. Beihoff, Ivory Sculpture Through The Ages, 62-63.]
The sculpture also reveals a more naturalistic style by showing movement in the different postures through graceful shift in position as well as weight. These movements help in creating a more realistic alongside a believable scene. The veil of the Virgin Mary over the head represents purity and holiness. The monument clearly portrays the intimate relationship between mother and child as was popular during the 14th Century. The mother looks directly at the child’s eye with gentle head lowered towards the Child. Further, the Child, Jesus Christ, is already depicted as savior since his right hand is lifted to portray a blessing to the mother and viewers. Such folding model represents a devotional object that was effective in promoting and encouraging the people towards having devotional prayer. The rare quadriptych form elongated the length of the diptych giving room for more detailed provision of sacred narrative. There were also devotional booklets with pages made of ivory that further adds to the value format of the diptychs.
The approach given to this statuette is rather more iconographic than stylistic that basically helps in defining the controlling principles. The presentation of the image is ornamental since it presents a visual pleasure of the statuette. The governing metaphor helps in the creation of the shape and configuration of the artefact. This leads to the definition of the clear format and at the same time incorporation of the materiality of the ivory element used. The divine presence as portrayed mandates a different mode of view that is revealed through the different set of artistic conventions, that eventually evokes a special behavior amongst the people. The important implication of this image is the visibility of Christ human nature and the invisibility of his divine nature.[Norbert J. Beihoff, Ivory Sculpture Through The Ages, 62-63.]
The statuette portrays different kinds of attitude one of which is adoration. Adoration presents the highest form of devotion that is accorded to God alone and usually manifested through spiritual as well as bodily adoration. Such an aspect can be seen from the physical abasement as presented from the Magi, kneeling and bowing before the Mother and the Child Jesus. Then there is the aspect of simple veneration that could be interpreted as honoring the excellence within a being and is not necessarily worship. However, such simple veneration may at times take physical forms such as saluting; offering gifts that possible can primarily lead to the movement the heart. The end goal of such actions is totally different from the attitude of adoration. The whole ivory work as assembled aims at helping the viewer and preparing them to encounter with some precious instrument of divinity. The use of the adoring Magi prepares the viewer on the nature of attention that must be given to the statuette whose special status seem indiscernible even to the naked eyes. The architectural Tabernacle portrays the typological information required for the purposes of enacting a proper nature of worship that comprehends the eschatological relevance of the ivory ornament used. The arrangement all around the artefact signals the viewer on the bodily presence of Christ and Mother, therefore, a clear instruction to the viewer to worship accordingly.
The design of the folding shrine and the lifted right hand of the Child emphasizes on the contents of the Tabernacle. The visible content of the artefact underscores the familial relation that the divine shares with the people. This is represented both stylistically as wel...