One of the most important characteristics of Romanesque sculpture is the fact that a much larger scale, it went beyond the interior of the temples. On one hand, began to appear as an external decoration of churches, on the other hand embellished and secular objects. In many cases, the figural decoration covers nearly the entire apse and facade of the building, creating a complex series of Christological or relating to the role of the Church in the history of salvation. First, architectural sculpture was present only in the Mediterranean. Such objects as even Norman churches were almost completely devoid of sculptural decoration, operated a simple face of the wall. However, in Saxony, the most important works were created in the metal remains (such as doors of Augsburg 60s XI century). A look at the geography of the later objects covered with decorations indicates that they are associated directly with the movement of pilgrims. It can be assumed that the money left by pilgrims allowed to create such complex cycles of carving, but also the newly constructed buildings at an early stage of their ascension into account the coverage of their decorations. Probably the very rich decorations of pilgrims had stopped for longer, to force them contemplation, finally, may be likened their pilgrimage to the mystical path we must take the faithful to obtain salvation. But there have the same representations to the standardization and consolidation of a certain artistic convention. The main portal was referring to a vision of heaven for example, at the time of the Last Judgement and Coronation of Mary. This change was for the then also visible. Even in the tenth century architectural sculpture north of the Alps almost did not exist. We isolated examples of the church. Panteleona in Cologne, and about the middle. Resulting from the eleventh century to present Christ with Saint. Dionysius and Emmeram in the church of the latter saint in Regensburg. You can, however, that in the latter temple was the whole series of performances, because I found the scene with the history of Samson, and thus on the subject of not being a good fit as an analogy to the history of Jesus.
For Western Europe the first Romanesque architectural sculpture is to be found in the Pyrenean churches. The most famous of these is Saint-Genis, where in the years 1019-1020 was the lintel at the west portal of tronującym Christ, angels and saints. Christ himself was typically presented, and so mandorla. This solution will generally occur throughout the Romanesque art, including painting (in Poland, one of the best known examples Tumu is an image of the treasure). However, the evolution of Romanesque sculpture in the eleventh century, takes place primarily within the Capitol. Already, "the Gospels of Otto III" reveals the capital of human heads, and similar preserved in France in Burgundy and the Loire Valley. Solutions Burgundy and the surrounding regions will rely on the fact that if you get on them a human figure, it will be entered to the area of \u200b\u200bthe capital - will not be dominant, but prymarną will feature architectural finials column. With time, however, appears in the capitals of the narrative, they describe a specific scene or the "Bible" or in some way related to the importance of religion in daily life. That's when the present example, there are other devils and demons that distract the faithful from godly living. An example of a narrative solution to the capitals, in which the dominant, rather than architectural significance is the capital of the Abbey of Saint-Benoit-sur-Louire, built before 1067 (or according to others in the 70s or Nov 80th century). It presents the Escape of the Holy Family to Egypt.
What is particularly important in the case of Romanesque sculpture, there is a dependence on each other arts organizations, which was formed only at the time of the importance of sculpture in a broader conception of the temple. So it is a situation different from the later Gothic, where the buildings in the Ile-de-France, such as Chartres or Reims became the model for the kind of Gothic sculpture almost all transalpine Europe. The second problem which may give rise to Roman sculpture, the problem of reception. It is qualitatively worse than many works of Gothic, which better take into account the spatial and compositional qualities. However, this follows from the fact that Roman sculpture trying to exploit our painting, especially miniature - as well put it, one of the researchers "should be treated almost exclusively as the images transferred to stone." For these reasons, in Romanesque art, the theme of sculpture began to dominate the architectural role of the object, there is a situation in which it seems not to fit into the overall structure. Is strictly additive, additive solved the same way as the space plan and the temple.
sculptures for the development of a key date was 1096, when Pope Urban II consecrated the altar in the newly built church of St. Sernin in Toulouse. Decorating the church so far had a fairly massive eyes and big heads. Responsible for the decoration of the altar, however, another workshop, which gave the set a higher lightness beings, established in the composition of antiquity, and eventually these artists have done a figure of Christ in the mandorla, although still not escape the formal errors (for small ears, too big eyes). A few years later, the sculptures were created in Moissac, which are probably written by the same or similar workshop. Ok. 1100 was performed there cloister church. Peter, fifteen years later and the tympanum of the show "Maiestas Domini." At first glance, pay attention to the great size of the object even in comparison with that of the lintel of Saint-Genis. The reasons for this phenomenon is to be found rather in the new architectural concept that has appeared previously in connection with the expansion of Cluny (Cluny III). To fill the resulting space in this way was used as a-dimensional, while the center was placed in the crown of Christ, surrounded by symbols of the four Evangelists and the figures of two angels. Artists have taken care of even the stars who performed at mandorla Savior. This is probably at this point was a workshop that propagated these solutions in other areas of France. From Moissac we directly involve artists working later in Souillac, Beaulieu and Cahors. In this first pillar of attention in animal monastic church (c. 1125 onwards).
discussing the beginnings of a sculpture of the twelfth century can not fail to mention one very unusual place south of the Pyrenees. Monastery of Santo Domingo de Silos, around 1120, became a place of lively sculptural movement, from which the most famous work is the scene of the doubting Thomas. Probably modeled precisely on the Porch of Moissac, but expanded the idea of \u200b\u200bsubmitting the form - now they constitute a specific narrative scenes. There is therefore the scene of the Ascension, the Resurrection, or photos from the cross, but unlike in Moissac we are dealing with a flat relief, a form of schematization and quite mechanical, not very realistic set of movements.
Due to the destruction of the Abbey of Cluny, which was demolished in 1811, the most Burgundian of the art is able to tell us Vezelay, where is the interesting church of Sainte-Madeleine. Portal of this church was built in the 20s Twelfth century and presents Sending the Apostles scene. The thing that surprises in this house is a very dynamic presentation of Jesus' disciples, but also representatives of various nations surrendering to him. They are recruited by St.. And St. Peter. Paul, while the same composition seems to be quite well fit into the concept of the Crusades. Worth mentioning is the other portal of this period, located in the church of Saint-Lazare in Autun by Gisleberta. Shown by the figures are more slender, smaller, and their movements been more softly. This is particularly clear in the case of Eve, which was placed in the north portal lintel transeptu oraz w „Sądzie Ostatecznym”, który zajmuje cały zachodni portal. W tym portalu celowo zmonumentalizowano postać Chrystusa, który zajmuje całą wysokość tympanonu. Po bokach zaś umieszczono diabły, które celowo miały budzić lęk wiernych, zaś sami zbawieni chronią się pod płaszczem archanioła Michała.
We Włoszech wsławił się inny artysta imieniem Wiligelmo. Działał m.in. w Modenie oraz kilku innych miastach Lombardii i Emilii na przełomie XI i XII w.. W Modenie np. stworzył rzeźby portalowe, zaś o jego manierze zwykło się pisać, that excelled above all in the concrete, a certain stiffness, but his students have followed already more direction set by the sculptors of the French and Provencal. With other artists can not ignore Niccol, who created the portal cathedrals of Ferrara and Verona. This represents the first (1135-1136) St. George defeating the dragon, which was previously part of the legend almost absent in the art of Western Europe, and popular in the Orthodox Church. Probably so as a result of the Crusades and the change in relations between the Roman Empire and Western Europe has been assigned this important iconographic motif. All portal has been quite carefully made, its composition is precise, more economical and free of unnecessary items. It is this style will dominate a lot of work Italic twelfth century, which until the end of this century will evolve again to form as more and more complicated design.
In the case of Germany and England architectural sculpture was immeasurably less important role than in France, Spain or Italy. It is therefore important to draw attention to other forms of sculptural art, which was even art works in metal casting. Today it makes an impression though a secondary, less important, but during the Romanesque its significance was the same as stone sculpture and marble. Three major resorts dominate the casting performance of such works in western Europe. They were around Liège, where he worked for the famous Renier (Raynier) from Huy, Lower Rhine, together with Cologne and Saxony, where he was the leading cities of Hildesheim, Magdeburg and Brunswick. Raynier is known primarily from the baptismal font, which was established in the years 1107-1118, which is located in St. Bartholomew at Liege. It consists of a cylindrical bowl based on a stone pedestal is supported by twelve oxen. Around font created frieze of various scenes of baptism, like an exorcism or a neophyte clearing water body. The presentation of these animals is a reference to the Temple of Solomon in Jerusalem, where he was placed Bronze Sea. This work is one of the most important objects in the casting of European art history because of the very high artistic value. Characters were presented in a fluid motion, are to some soulful, and the same convention portraying them in this way was used later by the art of the Gothic.
the land of Saxony should pay attention to the tombstone Szwabski Rudolf, dated for the 1080th Prince presented here in an earlier convention before the Gothic idea of \u200b\u200billustrating the dead as being able to sleep before waking up back in the day of the Parousia. Here the prince emerges from the background, so to speak, but we have to deal with the more convex reliefs - the whole was similar to the exterior of many of his later work. Specific attention is the solution robes, where the party is almost devoid of upper drapowań, while at the bottom of the dress is breaking even, thereby making all the folds on the body form. But it is not dreaming or dead, if the viewer looks open eyes, and hands holding the attributes of its secular power. Conventions used so we've ever used in the performances of the German king or emperor, and transferred to the ruler of a somewhat smaller "caliber." Saxon style is so important that it formed the so-called Magdeburg. Plock door, now located in one of nowogrodzkich councils. They show the evolution of the workshop for over half a century. Made in the 50s Twelfth century, the door has already made a more visually resolved, already on the border-dimensional sculpture. Thus, there was also to loosen związków ze sztuką antyczną i o wiele bardziej niezależnego komponowania tematów. Same zaś drzwi są niezwykle skomplikowane pod względem ideowym, stąd też badacze nie są zgodni, jaki jest dokładny związek pomiędzy poszczególnymi kwaterami. Prawdopodobnie jednak ilustrują one kolejne fragmenty Credo apostolskiego.
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