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Video: What is encrypted in the symbols of the most beautiful mosaic of Ravenna: "The Good Shepherd"
2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55
Art has surrounded us since ancient times. It can be reflected in a beautiful painting in the Louvre, a sculpture by Michelangelo, or in the form of graffiti on the wall. Early Christian art can express a story from the Bible in the form of a picture. As depicted in the Good Shepherd mosaic on the walls of the Galla Placidia mausoleum in Ravenna.
The Good Shepherd is a symbolic name and image of Jesus Christ, borrowed from the Old Testament and repeated by Christ in the New Testament in an allegorical description of his role as a teacher. The image reveals the epithet applied to Christ in the Holy Scriptures ("I am the good shepherd, the good shepherd lays down his life for the sheep. I am the good shepherd; and I know Mine, and Mine know Me." (Gospel of John)). This image was widespread in early Christian art, then became an outlived of the past. The most famous mosaic depiction of the Good Shepherd is located in the Mausoleum of Galla Placidia (Ravenna, Italy), dating from 425 AD and located above the entrance to the Mausoleum. Christ is depicted as a beardless young shepherd with a staff (with a cross), surrounded by grazing sheep. He has short hair, a youthful face, and his head is wrapped in a halo.
Mausoleum
Previously, the mausoleum served as a prayer house at the Basilica of Sanata Croce, which, unfortunately, has not survived to this day. Outwardly, the mausoleum is very similar to a fortress: a closed volume, deliberately fenced off from the outside world, is emphasized by thick walls and narrow windows. The plan is a Greek cross. The mausoleum contains three sarcophagi. It is believed that the largest sarcophagus contained the remains of Galla Placidia (died 450), daughter of the Roman emperor Theodosius I. Her embalmed body, dressed in an imperial mantle, was there in a sitting position. Unfortunately, a fire in 1577 destroyed the sarcophagus. The right sarcophagus is attributed to Galla's son, Emperor Valentinian III, or to her brother, Emperor Honorius. The sarcophagus on the left belongs to her husband, Emperor Constantius III. The interior of the mausoleum is covered with rich Byzantine mosaics. Iconographic themes represent the victory of eternal life over death. The mosaics of the Mausoleum stand out for their exceptionally high quality, far exceeding anything that has survived in Ravenna and other cities. Mosaics cover the walls of the vault, lunettes and the dome.
The central place in the decoration of the Mausoleum of Galla Placidia is occupied by the cross that adorns the dome. It is given here as a symbol of Christ's victory over death and a symbol of his torment. The cross is surrounded by stars and four symbols of the evangelists. In one of the lunettes there is a scene of the martyrdom of St. And in the open locker one can see the books of the four Gospels, which inspired the martyr to exploit. The figure of the saint is depicted in motion; in another lunette, there is a contrasting calm pastoral mosaic in which Christ appears as the Good Shepherd. The figure of Christ is depicted in a complex spread, this vividness of the pose is inherited from antiquity.
Mosaic plot
A young shepherd Jesus Christ sits in the pasture watching his faithful sheep. He is dressed in garments of bright gold and purple (these colors are usually chosen to represent imperial status and royalty). The golden spots of the mosaic make it even more attractive, magical and make it glow above the entrance to the mausoleum. This mosaic in the plot of the Good Shepherd differs markedly from other analogs found in the ancient Christian catacombs: if earlier the Shepherd was an ordinary village shepherd, here Jesus is dressed in a golden tunic, a purple cloak rests on his knees, and a large golden halo crowns his head. The difference in display is also associated with the periods of Christianization (before and after that, as Christianity became the official religion in Rome).
Composition
The composition of the body of Christ directs the viewer's gaze to the shepherd's staff. The crucifix is crowned with a staff, which symbolizes the victory of Christ over death. Christ, surrounded by three sheep on both sides, is symmetrical. The body of Christ is slightly out of proportion: his legs are as small as his arms. His head is small in relation to his body. Jesus will be stretched upward as well as his sheep (they have an oblong shape). The columns guide the viewer's eye to the landscape and meadow, a reminder that Ravenna was a Christian stronghold when Italy was overrun by pagan hordes. The background is light blue (reminder that it is daytime).
Mosaic symbolism
The symbolism of Christ as a shepherd comes directly from the Gospel (in it Christ leads the believers and is ready to give his life for them. Just as a shepherd leads his flock and is responsible for his sheep). In the center, among the sheep, sits a beardless young Christ, dressed in a beautiful mantle. He sits on a hillock (image of a throne), holding a cross in his hand, which acts as an imperial wand. Jesus is seen touching one of the sheep. It is a symbol of the unity of the divine and the natural - the idea of how Christ is one with nature. In the background on the left is a hill from which rivers flow (four rivers of paradise). The posture of Christ is majestic: his legs are crossed, his right hand touches the head of the lamb, but his gaze is turned in the other direction. Thanks to this position, the Shepherd becomes the semantic center of the mosaic: he sees all his sheep, and all the sheep look at him.
This work of art is very important to Christianity. Art during this time (when Christianity was already officially permitted) focuses more and more on religion and Jesus. Artists use this opportunity and transfer stories from the Bible to church walls and buildings. The Good Shepherd is a very historical non-conical part of Christianity, which in the 5th century was treated with particular reverence.
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