Page 98 - The MoMA/ Guggenheim issue of World of Art magazine (2001)

REVIEWS bY TAMARA PASZTOR
ThE BOOK OF KELLS Rho are panels of miscellaneous types of advent of Mediterranean influence in the
CHI-RHO mONOGRAm interlace: rectilinear, triskel forms, trumpet late Bronze Age onwards in. Eire (Ireland) is
scrolls, lyre-palmettes, and trefoils. This
well documented through archaeological
ILLUmINATION PAGE classification of ornament employed in the evidence of sculpture and pottery, hence
Situated within county Meath (Ireland), twenty Chi Rho Monogram Page had long been in the Celtic-Romano art. The traditional
miles of Drogheda, and the Irish Channel lies development in manuscript art and applied Celtic spiral ornament as shown in the Chi
the town of Kells. It is here, that the Monastery crafts. Interestingly, the borders and red dots Rho procures its adornment from archaic
of Kells possessed the used around the lettering (Christi Autem craftsmanship and pagan philosophy. The
celebrated biblical Generatio) for highlighting purposes first genesis of the elaborate spiral progressed
volume, The Book appeared in the earliest Irish gospel text, as a surface imagery to shields, helmets,
of kells. Consisting Usserianus Primus dating from the late sixth swordsheaths, armlets, bridles, and jewellery.
of 339 illuminated or seventh century. Moreover, the calligraphy In addition, the S-shape became a pagan
pages, measuring utilized as an introduction to a fresh section in Druidic symbol for the transmigration of the
13x9½”, according the Book of kells is an antiquated technique reincarnated soul. The question as to why the
to Celtic legend, the stemming from the Celtic psalter, Cathach, Gaels embraced this particular decoration is
tome was produced presumably ascribed to the penmanship of unknown, although Sir Augustus Wallaston
by Saint Columba Saint Colum Cille.Interlace, which reached franks postulates that the S-shape perhaps,
between the eighth an aesthetic pinnacle in the Book of kells developed under the floral design borrowed
CHI RHO MONOGRAM and markedly, with the Chi Rho, advanced from the Classical art. On that account,
IllUMINATION PAGE and ninth century A.D.
BOOK Of KEllS Exemplifying the Irish from the elaborate antediluvian metalwork. the basis of the spiral decoration in the Chi
Ornamental Style, the The first insular book to adapt interlace in a Rho can be paralleled to druidic doctrines
Chi-Rho Monogram has mystified present rigid band pattern was a late seventh century of the migrating soul and prehistoric metal
day art historians by the intricate design and gospel volume now housed at Durham. In craftsmanship whose aesthetic ideology
enigmatic iconography. the ensuing period, the later seventh century became fused with Christianity.
A masterpiece of artistic caliber, the Chi-Rho Book of Durrow interlace design evolved into The apparent Eucharistic iconography in the
Monogram is considered to be a refinement abstract, zoomorphic, and spirals. Thereupon, Chi Rho is more prone to speculation than
of ancient art. these creative endeavours influenced the fact. In 1980, Suzanne louis emphasized the
Illustrating the beginning of Matthew’s sophistry of the Chi Rho Monogram Page, Eucharistic characteristics of the Monogram
genealogy, the latinized version of Christ’s Book of kells. The mysterious human heads Page. louis’ interpretation of the disc marked
name (Christi Autem Generatio) is altered peeping out from the Chi and Rho manifest with a cross in the mouths of the two mice
into a Chi (x) and in the lower right corner, traces of Roman art. Art Historians have is spiritual in nature and that the fish in the
the word Generatio is overwhelmed by the suggested that the hideous visages are clearly mouth of an otter denotes the presence of
immense Rho (P). Here and there, human Germanic in origin, on the other hand, the Christ. In spite of the fact, that Suzanne louis’
heads and intertwining animals peer out from features bear a Roman resemblance. I.e. The hypotheses are scant with no proof to defend
the Chi and Rho. Several scholars conjecture abstract symmetry and static en face view her tentative assumptions, it may be possible
that the interweaving of zoomorphic images can be paralleled to the Roman ivory diptychs that the disc is representative of the Host
and letters inside the name of Christ is an of 400 AD. In addition, minute square-cut because it is inscribed
indirect reference to the incarnation of the decorations inside the Rho, especially the with cross. Still, tangible
Word and the Saviour. Then again, without regimental scheme of the rosette and grid evidence is required in
solid evidence; these hypotheses’ are patterns impart a likeness to the third century order to decipher the odd
merely nonessential. In the interior of the floor mosaics from Antioch. Of course, the imagery.

ThE PhILOSOPhERS STONE

arken to the words of an odd individual who hath discovered reflected element of historical expression and TAMARA PASZTOR
aesthetic enlightenment by a coincidental encounter with an cognition of present life. In fact, it is simple to IS A fREElANCE CRITIC
BASED IN TORONTO
Hesteemed Art History Professor and the timely appearance of fall victim to the tangled snare of this one-sided
the Philosophy Muse at the bottom of an inkwell. viewpoint. During the course of time, art evinces
I dare you, beloved reader, to proceed forward… infinite possibilities, content, and Chimerian appearances through a
Alas, from time to time, numerous (oftentimes, burdensome!) scholastic sequence of irrevocable change. Contact Information: tgp32001@yahoo.ca
requests have been thrusted like a parasitical insect into my pathway in Of course, a modest proposal cannot be devoid of categorizing
regards to the mental perceptions of art. ideology into orderly paragraphs!
Experiencing sudden timidity at the prospect of being invited by a The Humanist approach is representative of the finest oxymoron.
flock of anonymous undergraduate students and an Art History Professor Humanists shun dominance and at the same moment, respect the
to share my hypotheses for a forthcoming conference to be held in the fixed regulations of traditional art. I had the privilege of confronting this
cramped lecture auditorium of the University, I hesitated. Out of nowhere, particular motley band of artists hailing from the verdant realms of fair
the doctrinal teachings of Dante entered into my consciousness. People Ireland and whose motto reinstates the latinized version of Erasmus: “nos
wear a mask to gaze inward for clarity, penetrating deception, and to vetera instauramus, nova non prodimus” [ We restore old things, we do
recognize ourselves as heritors of potential. not produce new ones ]. Interpreting the works of art is a formidable task.
Discarding the illusionary fear of being ridiculed, I visualized myself as Tis’ impossible to fully comprehend the wherefore. Thus, the spectator
the fool featured in a divination tarot deck. Stepping off the cliff, I dived is coerced to abandon the analysis and instead, learn to adjust to the
headlong into the fathomless Abyss of the Unknown, and started to write. environs. Each generation shall see art from miscellaneous angles and
Upon further examination of my seventeenth to eighteenth century offer fresh conjectures. Art is not inflexible as Science in which the logical
grammatical useage and mayhap, the intellectual ravings of a lunatic mind, rationale proclaims: IT IS. Rather, art states: CAN BE.
I realized what a lengthy and profound excursion I had begun. At the end of this arduous, erudite quest I asked myself the question:
leaving upon that note, I commenced with the study of truth. Have I unearthed the alchemical Philosophers Stone?
Tis’ purely nonsensical (in my expressed opinion) to perceive art as a Perhaps, and perhaps not. The answer lies with my readers.

80 WORLD of ART