Thursday, March 22, 2012

Visual and Iconographic analysis of the Baptism of Jesus mosaic

art-history-images.com


The Orthodox Baptistery in Ravenna, Italy, also known as the Neonian Baptistery, has one of those deceiving exteriors common in Early Christian architecture, in that it is particularly plain and unassuming, whereas the interior shines with brilliantly tiled mosaics. Among these lies the Baptistery’s centerpiece, the mosaic depicting the Baptism of Jesus.

This mosaic is placed in the literal center of the Baptistery ceiling, within its dome, and dates from 451-475 CE. It shows the figure of Jesus standing in the river Jordan, whose personification stands to the side, being baptized by John the Baptist. Although most of it is original, John the Baptist’s right arm, Jesus’ head, and the dove above him are restorations from the 18th century, and an over-zealous restorer added the dish in John’s hand in the 19th century.

Because this is the central mosaic in a Baptistery, it would make sense that the scene is of a Biblical baptism, and the artist chose the most important baptism in the view of Christianity: the Baptism of Jesus Christ by John the Baptist. John the Baptist and Jesus are obviously what the artist considered the most important figures in the story, and anyone who knew the story that he or she was trying to portray would likely agree, and thus they are emphasized in the mosaic.

The figures of John the Baptist and Jesus are nearly in the center of the mosaic, not only indicating their significance, but also allowing room for the full figures of both. Within historical context, there were not the established rules that we have today on composition, which basically state that unless you really know what you’re doing, you do not put anything in the exact center of an image, thus artists would generally rely on their intuition as to what “looked right”. The center of an image then, acts as a focus point indicating importance, like the same indication would be used for royalty in the center of their court. They are further emphasized as important and holy by the halos on their heads, unlike the smaller figure of the River Jordan, who is plainer and without quite the same significance.

Having the river Jordan personified as the third figure in the mosaic is something that seems like a bit of an anomaly from our modern perspective, however, it has precedents in other mosaics of Early Christian origin, possibly due to the conversion of people from other religions for whom such an image would be common place. It is interesting to note as well that there is a label above the head of the river Jordan figure, naming who he is. The figure itself is also holding a reed and a garment to offer Jesus, showing how even something as mighty and unchangeable as a river acknowledges Jesus’ power, at least that is what the artist seems to believe.

The background of the mosaic does not contain much beyond its field of gold, likely to indicate the light that is such an inherent part of Christianity, and to make another connection to the idea of Jesus as royalty, or the equivalent in power. Along with the expanse of gold, the background contains enough of a riverbank, its plants, rocks, and water specifically, that it is clear where the scene is taking place, also helped by the personification of the River Jordan. Additionally, there are the symbols of the cross and the dove integrated into the mosaic around and behind the figures, furthering the idea of Christ and Christianity in the scene. The dove, is generally accepted as a symbol for peace, but the cross here seems to almost foreshadow Christ’s death and resurrection, as well as being a general symbol for Christianity.

The main mosaic is then surrounded by further Christian icons and symbols. The first is a ring of the Twelve Apostles each labeled with their name. The second is a ring with alternating depictions of empty thrones for Christ, and open Gospel books, along with other smaller motifs.

Overall, the main mosaic of the Orthodox Baptistery in Ravenna, Italy is rife with Christian imagery, symbolism, and importance. Additionally, because it has been so well preserved for its age, it is a highly valuable piece of study for Early Christian artwork.

Source:
http://www.sacred-destinations.com/italy/ravenna-battistero-neoniano