Fictitious & Symbolic Creatures in Art. John VinycombЧитать онлайн книгу.
the cherubim.
The four living creatures that support the throne of God exhibited to Ezekiel a fourfold aspect; they had each the face of a man, the face of a lion, and the face of an ox; they also had the face of an eagle. They had each four wings; they had the hands of a man under their wings. “Two wings of every one were joined one to the other, and two covered their bodies.” They were accompanied by wheels which “went upon their four sides, and they turned not when they went”; “and their whole body, and their backs, and their hands, and their wings, and their wheels were full of eyes”; “and the living creatures ran and returned as the appearance of a flash of lightning.” Such is a concise description of their appearance as set forth in Ezekiel (chap. i.).
“This wonderful and mysterious hieroglyph must be considered as a striking and expressive emblem of the guardian vigilance of providence, all-seeing and omniscient; while the number of wings exhibit to us direct symbols of that powerful, that all-pervading spirit which, while it darts through nature at a glance, is everywhere present to protect and defend us” (Dideron).
So attached were the Jews to this celestial symbol that when Solomon erected that stupendous temple which continued the glory and boast of the Hebrew nation for so many ages, we are told (1 Kings, vi. 29, viii. 6, 7), he carved all the walls of the house round about with the sculptured figures of the cherubim, and on each side of the ark was a cherub of gold plated upon olive wood fifteen feet high, with their faces to the light, their expanded wings embracing the whole space of the sacred enclosure, serving as a visible sign or symbol of God’s immediate presence, whence the saying of David, “God sitteth between the cherubim” (Ps. xcix. 1). In this place God perpetually resided in the form of a bright cloud or shining luminous body, termed “shechinah,” whence the divine oracles were audibly delivered.
Milton gives the following description of the Seraph Raphael:
“At once on the eastern cliff of Paradise
He lights, and to his proper shape returns
A seraph wing’d; six wings he wore to shade
His lineaments divine; the pair that clad
Each shoulder broad came mantling o’er his breast
With regal ornament: the middle pair
Girt like a starry zone his waist, and round
Skirted his loins and thighs with downy gold
And colours dipped in heaven; the third, his feet
Shadows from either heel with feather’d mail
Sky tinctured grain. Like Maia’s son he stood
And shook his plumes, that heavenly fragrance fill’d
The circuit wide.”
The cherub is traditionally regarded as a celestial spirit which in the hierarchy is placed next in order to the seraphim. All the several descriptions which the Scripture gives us of cherubim differ from one another, as they are described in the shapes of men, eagles, oxen, lions, and in a composition of all these figures put together. The hieroglyphical representations in the embroidery upon the curtains of the tabernacle were called by Moses (Ex. xxvi. 1) “cherubim of cunning work” (Calmet).
The seraphim are regarded as an order of angels distinguished for fervent zeal and religious ardour. The word means “burning,” i.e., with Divine Love.
The seraphim are described by Isaiah (vi. 1-3): “I saw also the Lord sitting upon a throne, high and lifted up, and his train filled the temple. Above it stood the seraphim: each one had six wings; with twain he covered his face, and with twain he covered his feet, and with twain he did fly. And one cried to another and said, Holy, Holy, Holy, is the Lord of Hosts: the whole earth is full of his glory.” And in Revelation (iv. 6): “Round about the throne were four beasts full of eyes before and behind, and the first beast was like a lion, and the second beast like a calf, and the third beast had a face as a man, and the fourth beast was like a flying eagle. And the four beasts had each of them six wings about him, and they were full of eyes within.” It will be noticed that these descriptions differ from that of Ezekiel, not only in the number of wings, but also in the individuality of each beast being separate and independent, not compounded of the four.
Tetramorph.
Several forms of these mystical creatures, says Audsley, have been devised by the early mediæval artists; those which display the entire forms of the man, the lion, the ox, and the eagle, all winged and invested with the nimbus, appear to have been most frequently made use of. They are to be met with formed of the heads of the mystical creatures on bodies or half-bodies of winged human figures; at other times we find them comprised in the heads and wings only of the four symbolic creatures. Sometimes they are found united and forming one mysterious being called the Tetramorph with four heads and numerous wings covered with eyes, the feet resting on wheels, which are also winged. The example is taken from a Byzantine mosaic in the convent of Vatopedi, on Mount Athos.
Pugin’s “Glossary of Ecclesiastical Ornament and Costume” says the cherubim are frequently represented of a bright red colour to set forth the intensity of divine love, and usually standing upon wheels, in reference to the vision of the prophet Ezekiel.
Cherubim and seraphim seem always vested in the alb or tunic, and a scarf tied in a knot round the neck.
Emblems of the Four Evangelists
The winged living figures, symbols of the evangelists, which are most frequently met with, and which have ever been most in favour with Early Christian artists, appear to have been used at a very early date. They are taken from the vision of Ezekiel and the Revelation of St. John. “The writings of St. Jerome,” says Audsley, “in the beginning of the fifth century gave to artists authority for the appropriation of the four creatures to the evangelists,” and for reasons which are there given at length.
St. Matthew: Winged Man, Incarnation.—To St. Matthew was given the creature in human likeness, because he commences his gospel with the human generation of Christ, and because in his writings the human nature of Our Lord is more dwelt upon than the divine.
St. Mark: Winged Lion, The Resurrection.—The Lion was the symbol of St. Mark, who opens his gospel with the mission of John the Baptist, “the voice of one crying in the wilderness.” He also sets forth the royal dignity of Christ and dwells upon His power manifested in the resurrection from the dead. The lion was accepted in early times as a symbol of the resurrection because the young lion was believed always to be born dead, but was awakened to vitality by the breath, the tongue, and roaring of its sire.
St. Luke: Winged Ox, Passion.—The form of the ox, the beast of sacrifice, fitly sets forth the sacred office, and also the atonement for sin by blood, on which, in his gospel, he particularly dwells.
St. John: The Eagle, Ascension.—The eagle was allotted to St. John because, as the eagle soars towards heaven, he soared in spirit upwards to the heaven of heavens to bring back to earth revelation of sublime and awful mysteries.
Independently of their reference to the four evangelists these figures sometimes refer to the Incarnation, the Passion, the Resurrection, and the Ascension.
Sedulius, a priest and poet of the fifth century, says much the same in the following verse:
Hoc Matthæus agens, Hominem generaliter implet:
Marcus ut alta fremit vox per deserta Leonis:
Jura sacerdotis Lucas tenet ore Juvenci:
More volens Aquilæ verbo petit astra Johannes.
The Lion of St. Mark.—In the ninth century the rapidly rising State of Venice was dignified by the reception of the relics of St. Mark, transported thither from Alexandria.