Seni rupa Kristen: Perbedaan antara revisi

Di belahan Dunia Barat, jumlah karya seni rupa sekuler mengalami peningkatan pada masa Renaisans, meskipun karya-karya seni rupa Kristen masih tetap diproduksi dalam jumlah besar atas pesanan gereja-gereja, para rohaniwan, dan kaum menak. Reformasi Protestan ber[[Seni rupa dalam gerakan Reformasi Protestan dan Kontra Reformasi|dampak besar terhadap seni rupa Kristen]]. Di Jerman, [[Martin Luther]] mengizinkan dan menganjurkan pemasangan citra-citra keagamaan di gereja-gereja, meskipun dalam jumlah yang lebih sedikit daripada yang sudah-sudah, karena ia berpandangan bahwa gereja Lutheran Injili adalah kelanjutan dari "Gereja rasuli nan purba".<ref name="Lamport2017"/><!-- [[seni rupa Lutheran|Karya-karya seni altar Lutheran]] seperti lukisan [[Perjamuan Terakhir (Cranach)|''Perjamuan Terakhir'' karya Cranach Muda]] pada tahun 1565 diproduksi di Jerman, especially by Luther's friend [[Lucas Cranach the Elder|Lucas Cranach]], to replace Catholic ones, often containing portraits of leading reformers as the apostles or other protagonists, but retaining the traditional [[depiction of Jesus]]. As such, "Lutheran worship became a complex ritual choreography set in a richly furnished church interior."<ref name="Spicer2016">{{cite book|last=Spicer|first=Andrew|title=Lutheran Churches in Early Modern Europe|date=5 December 2016|publisher=Taylor & Francis|language=English|isbn=9781351921169|page=237|quote=As it developed in north-eastern Germany, Lutheran worship became a complex ritual choreography set in a richly furnished church interior. This much is evident from the background of an epitaph pained in 1615 by Martin Schulz, destined for the Nikolaikirche in Berlin (see Figure 5.5.).}}</ref> Lutherans proudly employed the use of the [[crucifix]] as it highlighted their high view of the [[Theology of the Cross]].<ref name="Lamport2017"/><ref name="MarquardtJordan2009">{{cite book|last1=Marquardt|first1=Janet T.|last2=Jordan|first2=Alyce A.|title=Medieval Art and Architecture after the Middle Ages|date=14 January 2009|publisher=Cambridge Scholars Publishing|language=English|isbn=9781443803984|page=71|quote=In fact, Lutherans often justified their continued use of medieval crucifixes with the same arguments employed since the Middle Ages, as is evident from the example of the altar of the Holy Cross in the Cistercian church of Doberan.}}</ref> Thus, for Lutherans, "the Reformation renewed rather than removed the religious image."<ref name="Dixon2012">{{cite book|last=Dixon|first=C. Scott|title=Contesting the Reformation|date=9 March 2012|publisher=John Wiley & Sons|language=English|isbn=9781118272305|page=146|quote=According to Koerner, who dwells on Lutheran art, the Reformation renewed rather than removed the religious image.}}</ref> On the other hand, Christians from a [[Reformed]] background were generally iconoclastic, destroying existing religious imagery and usually only creating more in the form of book illustrations.<ref name="Lamport2017">{{cite book|last=Lamport|first=Mark A.|title=Encyclopedia of Martin Luther and the Reformation|date=31 August 2017|publisher=Rowman & Littlefield Publishers|language=English|isbn=9781442271593|page=138|quote=Lutherans continued to worship in pre-Reformation churches, generally with few alterations to the interior. It has even been suggested that in Germany to this day one finds more ancient Marian altarpieces in Lutheran than in Catholic churches. Thus in Germany and in Scandinavia many pieces of medieval art and architecture survived. [[Joseph Leo Koerner]] has noted that Lutherans, seeing themselves in the tradition of the ancient, apostolic church, sought to defend as well as reform the use of images. "An empty, white-washed church proclaimed a wholly spiritualized cult, at odds with Luther's doctrine of Christ's real presence in the sacraments" (Koerner 2004, 58). In fact, in the 16th century some of the strongest opposition to destruction of images came not from Catholics but from Lutherans against Calvinists: "You black Calvinist, you give permission to smash our pictures and hack our crosses; we are going to smash you and your Calvinist priests in return" (Koerner 2004, 58). Works of art continued to be displayed in Lutheran churches, often including an imposing large crucifix in the sanctuary, a clear reference to Luther's ''theologia crucis''. ... In contrast, Reformed (Calvinist) churches are strikingly different. Usually unadorned and somewhat lacking in aesthetic appeal, pictures, sculptures, and ornate altar-pieces are largely absent; there are few or no candles, and crucifixes or crosses are also mostly absent.}}</ref>