Deesis

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Recommended: The change of religion between 1450 and 1750 Americas and Europe

A New Home “My soul is like a house, small for You to enter, but I pray You to enlarge it.
It is in ruins, but I ask You to remake it. It contains much that You will not be pleased to see: this I know and do not hide. But who is to rid it of these things? There is no one but You.” These are the earnest words of the early Christian theologian, Saint Augustine of Hippo, and these words accurately define the religious mindset of Europe during his lifetime.
His life spanned from 354-430 A.D , during the Byzantine era, and it was during this time that a movement was beginning in Europe; fires of religious zeal were being kindled in the souls and ideologies of new converts. In the span of 67 years, the Roman Empire’s view …show more content…

Images were continuing to be wrought for personal use and home décor. Triptychs were personal, hinged, three-sectioned portable shrines used for prayer by individuals. In this piece, the now common Deesis representation is displayed.
A Deesis is an Eastern Orthodox art representation of Christ enthroned (usually holding a book), with Mother Mary and John the Baptist accompanying Him. Compared to the ivory plaque of the Suicide of Judas and the Crucifixion, where Christ is shown defeated and dying; Christ is now presented as a bearded, mature, victorious King ruling in the celestial realm; His entourage of loyal followers, apostles, Bishops, soldiers, and martyrs surround Him. This Triptych is an excellent example of the glory of Christ’s resurrection and ascension into heaven where He sits on the right Hand of the Father, as well as the growth and fervent dedication of His followers. Shown are Bishops who served in His ever-growing Church, martyrs who were persecuted and were murdered for their faith, and numerous Saints who dedicated their lives to the forwarding of the faith and to the service of …show more content…

Surrounding Christ are patron saints such as Peter, who holds the keys to heaven’s gate, as well as Saint Mauritius, the patron saint of Ottonian empire, who stands behind Otto I. Saint Mauritius is shown gently easing forward Otto in a parent-like manner, so Otto may present his Cathedral replica to Christ. Christ sits enthroned on a wreath with His hand upon the small replica illustrating His blessing on the Cathedral. Aside from Christ, the figures are layered upon each other, showing the artist’s impressionist take on the piece. Notice the size difference of Christ and Otto I; a recognizable hierarchical scale is used to differentiate the importance of both rulers. Christ is the largest figure on the plaque, showing His heavenly authority and consecration. Otto I is the smallest of all the figures, and renders himself with a childlike shyness, which presents him as a humble servant of Christ, who longs for the approval and blessing of his Savior.

Christs’ Depiction in Ivory

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