What do you think?
Rate this book
Very Short Introductions #107
هنر مسیحی
تصاویر مسیحی در هنر غرب، تاریخچهای طولانی دارند که از آثار روایی و عبادی قرون وسطی گرفته تا اجراهای بنیادستیز جدید را در برمیگیرد.
طی قرون متمادی، موضوعات کلیدی هنر مسیحی همچون تصلیب مسیح، عشای ربانی، مریم مقدس و قدیسان دستخوش تغییرات قابل توجهی شده، این مسیر در این کتاب بررسی میشود. در هنر مسیحی دربارهی آثار تعلیمی و عبادی در کنار آثار مناقشهبرانگیز هنرمندان معاصر، همچون کریس اوفیلی بحث میشود.
طی قرون متمادی، موضوعات کلیدی هنر مسیحی همچون تصلیب مسیح، عشای ربانی، مریم مقدس و قدیسان دستخوش تغییرات قابل توجهی شده، این مسیر در این کتاب بررسی میشود. در هنر مسیحی دربارهی آثار تعلیمی و عبادی در کنار آثار مناقشهبرانگیز هنرمندان معاصر، همچون کریس اوفیلی بحث میشود.
174 pages, Paperback
First published October 1, 2003
15 people are currently reading
366 people want to read
About the author
Beth Williamson
6 books1 followerBeth Williamson is a Senior Lecturer in History of Art at Bristol University. Her research focuses on medieval devotional imagery in Europe.
Librarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information.
Librarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 18 of 18 reviews
August 27, 2023
در نقاشی شهادت قدیس متی کاراواجیو در کلیسای سن لوئیجی قهرمان باید قدیس متی باشد اما نیست. کاراواجیو جوان زیبا و نیمه برهنهای را در مرکز نقاشی و در نور شدید قرار داده. جوان قاتل قدیس متی است. و قدیس متای پیر و پوشید در چند لایه لباس به زمین افتاده و افقی شده. البته قدیس متی هم در روشنایی است بیشتر لباسش. قهرمان متای قدیس نیست. قهرمان بدن ماهیچهای و زیبای پسر قاتل است با شمشیری در دست. تکه هایی از بدنهای برهنهی دیگر شخصیتها از تاریکی بیرون افتادهاند و گرداگرد قاتل جوان رعنا و برهنه و غرق نور و قدیس متای پیر و افتاده که گویا نورش را از قاتل میگیرد، در گردش اند. مخصوصن پشت برهنهی پسری در پیش زمینه. این سبک پرتحرک باروک است که حواس فیزیکی را تحریک میکند. جشن بدنهای برهنه در کلیسای کاتولیک.
April 25, 2012
A very good easy to read but fairly scholarly survey to two millenia of devotional art. Some important areas covered were...
1. The increasing devotion to Mary and the need for extra biblical sources of narrative [!] and the huge influence of the Legenda Aurera from the 13th century onwards [that I had not previously hear of].
2. The increasing reinforcement of all sort of bizarre tales of "saints" thru visual representation.
3. Differing views of the role of images: as a tool of instruction or simply as a reminder of teachings already receive thru to the Calvinist rejection of the use of images.
4. Strong tradition of OT antitypes and their NT types in expansive church decoration.
5. Ongoing influence of Christian art in the Western visual arts.
1. The increasing devotion to Mary and the need for extra biblical sources of narrative [!] and the huge influence of the Legenda Aurera from the 13th century onwards [that I had not previously hear of].
2. The increasing reinforcement of all sort of bizarre tales of "saints" thru visual representation.
3. Differing views of the role of images: as a tool of instruction or simply as a reminder of teachings already receive thru to the Calvinist rejection of the use of images.
4. Strong tradition of OT antitypes and their NT types in expansive church decoration.
5. Ongoing influence of Christian art in the Western visual arts.
Read
November 27, 2025I wanted to dip my toe back into theological reading & this was the perfect book to get started with. Concise and accessible, I particularly loved the chapter on the controversy of some modern day Christian art; deliberating on the symbolism of the Piss Christ photograph was SO interesting. Also loved learning about saints and their illustrated attributes - would read a whole book just on that!
I NEED to talk to someone about all the facts that I learned from reading this lol :) Theology is so flipping cool xoxo
I NEED to talk to someone about all the facts that I learned from reading this lol :) Theology is so flipping cool xoxo
June 28, 2019
The very short introduction vary a great deal in terms of quality and level. This one is well organised, clear and helpful but is intended for beginners who know little about art and the development of Christianity. I would certainly recommend it for readers at that category.
November 2, 2023
Chapter 1: The Virgin Mary
Chapter 2: The body of Christ
Chapter 3: The saints
Chapter 4: Images and narrative
Chapter 5: Christian art transformed: the Reformation
Chapter 6: Christian art around the turn of the second millennium
Chapter 2: The body of Christ
Chapter 3: The saints
Chapter 4: Images and narrative
Chapter 5: Christian art transformed: the Reformation
Chapter 6: Christian art around the turn of the second millennium
December 31, 2013
The book I read to research this post was Christian Art A Very Short Introduction by Beth Williamson which is a very good book which I bought from kindle. This book is part of a series of around 300 books where they get an expert to write around 150 pages as an introduction to a topic. I have reviewed quite a lot of the books in the series. Christian art doesn't encompass one type of art and isn't just defined as painting as there are other forms such as sculpture and wrought iron work. This book focuses on painting. This type of art can be traced back 2,000 years to the time of Christ. Much christian art can be found in the Byzantine Empire which of course was when the seat of power in the Roman Empire shifted to Byzantium or Istanbul as it is now known. The Hagia Sophia, one of the most important mosques in the Muslim world was originally intended to be a church. The Byzantine Emperors were christian until their empire was over run by the Muslims. In much old religious art God is depicted as biggest, hence appears nearest and as the characters get less important they gradually get smaller, hence appear further away. In those days they didn't understand perspective. Probably the greatest achievement in Christian Art was the Sistine Chapel where Michaelangelo spent years painting a huge ceilling. The theme of the painting of an old traditional church was chosen on purpose as the church was eager to consolidate its position as being the one true path.
October 26, 2017
I like reading books that encapsulate the themes of art because even though I studied these things in college and have in the past it is always nice to get a refresher perspective on things. I know she couldn’t cover every point that has come up in the expression of Christian themes and devotional works but this is a good place to start for anyone interested in the subject including me. I enjoy reading books like this because it gives me a fresh perspective on things and also helps me to learn things that I might have forgotten.
April 25, 2015
An excellent introduction to the topic. As an undergraduate student who has taken multiple courses on related topics, I was certainly not the intended audience, but I value the book for what it is. I would recommend it to anyone interested in the topic, particularly as there are suggestions for further reading.
November 3, 2013
excellent intro and refresher to main themes of Christian [mainly medieval and Renaissance] art. Brief honourable mentions to Ofili and Serrano at the end.
February 11, 2014
Solid introduction some very narrow topics in Christian art.
May 2, 2022
• In early Christian communities, art tends to be on catacombs with Shepard being a particularly popular theme. Later when Christianity received official recognition, art grew larger. Icons of Christ became more frequent. These use generic facial type for gods at the time. Iconoclasm and reformation both had influence on Christian Art. The former is a rekindling of Old Testament prohibitions. The latter is partly a reaction of the exuberant church interiors. But in any case, art was abandoned by only a very small sector.
• In certain art of “Annunciation”, Mary is seen with a book, sometimes with visible writing of OT prophecy of Isaiah ”A virgin will conceive, and she will bear a son”. In 1854, immaculate conception becomes official doctrine (dogma), and the topic becomes popular subject in art in Spain as well as in Spanish America. Of course another common subject is the crucification of Christ.
• Art of saints is also common. Devotion to relics of Saints is partly motivated by the perceived efficacy of saints being intercessors. (The one sharing your name is even more effective.) Earlier churches were usually built with the tomb of a saint as the altar. (It is when many churches were built and not enough saints to go around that smaller relics would be venerated.) Art of saints usually carry some identification. For instance, Magdalen often carries a small pot with a lid to recall the tradition that she washed the feet of Christ. (The way people pick their patron saint can be quite interesting. Died of stoning? Patron saint for those with a headache. Skinned alive? Patron saint for the tanners.)
• Part of the function of religious art is that it serves as “books for the illiterate”. Luther for instance, praises the merit of art in this regard (though some other reformers were more hostile). NT is often said to be foreshadowed by OT. An image of crucified Christ is thus often juxtaposed to one depicting sacrifice of Isaac. Francis of Assisi is said to have characteristics of Jesus. Image of his death next to that of crucification reminds people of that.
• In general, Counter-Reformation emanated originally from Italy and carried with them the energetic Baroque style from Italy. Rubens is the most forceful proponent of Counter-Reformation art. In contrast, Rembrandt is seen as carrying affinity to Protestant sensibilities, focusing on OT narratives, and inviting quiet contemplation (rather than stirring violent emotions).
• In more recent times, artists are still producing art with Christian subjects. But these tend to be art meant for museums rather than churches.
• In certain art of “Annunciation”, Mary is seen with a book, sometimes with visible writing of OT prophecy of Isaiah ”A virgin will conceive, and she will bear a son”. In 1854, immaculate conception becomes official doctrine (dogma), and the topic becomes popular subject in art in Spain as well as in Spanish America. Of course another common subject is the crucification of Christ.
• Art of saints is also common. Devotion to relics of Saints is partly motivated by the perceived efficacy of saints being intercessors. (The one sharing your name is even more effective.) Earlier churches were usually built with the tomb of a saint as the altar. (It is when many churches were built and not enough saints to go around that smaller relics would be venerated.) Art of saints usually carry some identification. For instance, Magdalen often carries a small pot with a lid to recall the tradition that she washed the feet of Christ. (The way people pick their patron saint can be quite interesting. Died of stoning? Patron saint for those with a headache. Skinned alive? Patron saint for the tanners.)
• Part of the function of religious art is that it serves as “books for the illiterate”. Luther for instance, praises the merit of art in this regard (though some other reformers were more hostile). NT is often said to be foreshadowed by OT. An image of crucified Christ is thus often juxtaposed to one depicting sacrifice of Isaac. Francis of Assisi is said to have characteristics of Jesus. Image of his death next to that of crucification reminds people of that.
• In general, Counter-Reformation emanated originally from Italy and carried with them the energetic Baroque style from Italy. Rubens is the most forceful proponent of Counter-Reformation art. In contrast, Rembrandt is seen as carrying affinity to Protestant sensibilities, focusing on OT narratives, and inviting quiet contemplation (rather than stirring violent emotions).
• In more recent times, artists are still producing art with Christian subjects. But these tend to be art meant for museums rather than churches.
October 6, 2024
کتاب هنر مسیحی کتاب بسیار خوبی هست برای شروع خوانش تاریخ هنر مخصوصا اگر حوصله خواندن تاریخ هنر دوره های پیشین رو نداشته باشی.
نکته بسیار خوب و قابل توجه این کتاب اینه که درباره نمادشناسی شمایل ها صحبت میکنه و مثال های زیادی از آثار هنر مسیحی میزنه که درک رو برای خواننده بهتر میکنه. هرچند کتاب کاملی نیست اما میتونه شروع کننده خوبی باشه برای ادامه مطالعه در زمینه هنر مسیحیت.
نکته بسیار خوب و قابل توجه این کتاب اینه که درباره نمادشناسی شمایل ها صحبت میکنه و مثال های زیادی از آثار هنر مسیحی میزنه که درک رو برای خواننده بهتر میکنه. هرچند کتاب کاملی نیست اما میتونه شروع کننده خوبی باشه برای ادامه مطالعه در زمینه هنر مسیحیت.
July 3, 2019
I enjoyed the early part of this book but felt the jump from Rembrandt to Piss Christ by Andrew Serrano a little rough. I was not shocked by this but did not follow the Author's stance on this did she think it good or bad or worth the money paid for it. But hey I'm very old fashioned.
July 18, 2021
As the title suggested, this is a compact book and there is enough detail on the history of art across the years. However the black and white photos of some paintings that are described, make it harder to envision the completed works in full, without access to Google to assist.
June 1, 2020
Helpful enough
December 12, 2020
A brief but very insightful survey of the major periods in the art of Chritianity
January 30, 2021
A well written book, however diagrams after difficult to see on the kindle version.
Read
April 3, 2017Page 4
The image of the shepherd is a particularly popular one in early Christian art, occurring over 100 times in the catacombs as a whole. The shepherd symbolizes care and protection, as prefigured in the 23rd Psalm. The shepherd had already appeared in Greek art, with the god Hermes sometimes being portrayed carrying a sheep or a Ram. Pagan imagery of Hermes in this aspect was adapted by Christians to form the image of Christ the Good Shepherd.
Rembrandt, The Sacrifice of Isaac, 1635
Hans Holbein the Younger, An Allegory of the Old and New Testaments, c.1532
El Greco (Domenikos Theotokopoulos), St. Luke Painting the Virgin, c.1560
Diego Velazquez, Virgin of the Immaculate Conception, c.1618
Peter Paul Rubens, The Real Presence of the Eucharist, 1609
Chris Ofili, The Holy Virgin Mary, 1996
Andres Serrano, Piss Christ, 1987
Donatello,
Coesfeld Cross and Gabelkreuz
In 1306, the bishop of London, Ralph Baldock, ordered a crucifix to be removed from the chapel at Coneyhood, in the parish of St. Mildred, Poultry, London. The records of this case, in the Annals of London, not the form of the cros: the horizontal cross arm was not of the customary design, and it seems that this crucifixmust have been of the type known as a Gabelkreuz, a type of crucifix seemingly emanating from Germany, which characteristically used Y-shaped, or fork-shaped cross-arms, and a dramatically suspended, contorted, and suffering Christ Figure. Either the unfamiliar form of the cross, or the particular way in which the Christ figure was shown, or both, caused the cross to be described in the Annals as a 'crux horribilis' (a 'horrible' or 'monstrous' cross). Just over a century later, the Florentine sculptor Donatello produces a carved wooden crucifix, now in the Bardi chapel in the church of S. Croce. This crucifix, according to Giorgio Vasari's Lives of the Artists, was criticized by Donatello's friend and rival, Filippo Brunelleschi, for seeming to show the body of a peasant rather than the body of Christ. This story, anecdotal though it may be, would seem to indicate that the attempt of the artist to show Christ's real humanity, through emphasizing the effects of his physical suffering upon his human body, was deemed, by some viewers, to be unsuitable or inappropriate.
Seen in the context of other artists' attempts to state anew the message of Christ's humanity and suffering, and with a knowledge of the ways in which artists have constantly stressed Christ's physicality, Serrano's Piss Christ does not necessarily have to seem as irreverent, as offensive, as keen to poke fun at the subject matter and the discomfited viewer, as some critics have claimed. It is therefore clearly important to place works such as this in some kind of historical context.
Also, more recently, Damien Hirst.
Matthias Grünewald, Isenheim
The image of the shepherd is a particularly popular one in early Christian art, occurring over 100 times in the catacombs as a whole. The shepherd symbolizes care and protection, as prefigured in the 23rd Psalm. The shepherd had already appeared in Greek art, with the god Hermes sometimes being portrayed carrying a sheep or a Ram. Pagan imagery of Hermes in this aspect was adapted by Christians to form the image of Christ the Good Shepherd.
Rembrandt, The Sacrifice of Isaac, 1635
Hans Holbein the Younger, An Allegory of the Old and New Testaments, c.1532
El Greco (Domenikos Theotokopoulos), St. Luke Painting the Virgin, c.1560
Diego Velazquez, Virgin of the Immaculate Conception, c.1618
Peter Paul Rubens, The Real Presence of the Eucharist, 1609
Chris Ofili, The Holy Virgin Mary, 1996
Andres Serrano, Piss Christ, 1987
Donatello,
Coesfeld Cross and Gabelkreuz
In 1306, the bishop of London, Ralph Baldock, ordered a crucifix to be removed from the chapel at Coneyhood, in the parish of St. Mildred, Poultry, London. The records of this case, in the Annals of London, not the form of the cros: the horizontal cross arm was not of the customary design, and it seems that this crucifixmust have been of the type known as a Gabelkreuz, a type of crucifix seemingly emanating from Germany, which characteristically used Y-shaped, or fork-shaped cross-arms, and a dramatically suspended, contorted, and suffering Christ Figure. Either the unfamiliar form of the cross, or the particular way in which the Christ figure was shown, or both, caused the cross to be described in the Annals as a 'crux horribilis' (a 'horrible' or 'monstrous' cross). Just over a century later, the Florentine sculptor Donatello produces a carved wooden crucifix, now in the Bardi chapel in the church of S. Croce. This crucifix, according to Giorgio Vasari's Lives of the Artists, was criticized by Donatello's friend and rival, Filippo Brunelleschi, for seeming to show the body of a peasant rather than the body of Christ. This story, anecdotal though it may be, would seem to indicate that the attempt of the artist to show Christ's real humanity, through emphasizing the effects of his physical suffering upon his human body, was deemed, by some viewers, to be unsuitable or inappropriate.
Seen in the context of other artists' attempts to state anew the message of Christ's humanity and suffering, and with a knowledge of the ways in which artists have constantly stressed Christ's physicality, Serrano's Piss Christ does not necessarily have to seem as irreverent, as offensive, as keen to poke fun at the subject matter and the discomfited viewer, as some critics have claimed. It is therefore clearly important to place works such as this in some kind of historical context.
Also, more recently, Damien Hirst.
Matthias Grünewald, Isenheim
Displaying 1 - 18 of 18 reviews