Tesseljoan
Week 5 – Le Pape
I wrote very little this week, but I spent a lot of time on my drawing. I made this one on a larger format, closer to A4 then card size. I may not have learnt a lot intellectually, but I do feel I have gotten to know this card, which was the purpose of the 78 weeks. Below is the link to my sketch. He turned out a little stern, but I don’t think he is unkind.
What I noticed for the first time, is how well the pope is drawn. We may dismiss these woodblocks as ‘bad art’, but when I started to mimic the draperies in my own sketch, I noticed that the folds are perfectly drawn… even the shadows are right! I have never thought a Marseilles deck ugly, but I do hold the art in much higher esteem now.
Behind the Pape stand a couple of pillars. It makes a sharp contrast with La Pances, who has a cloth behind her. The pillars are firm and solid, as opposed to the gentle and concealing fabric in the La Pances card.
The Pape is the first card in which a figure speaks – as is symbolized by his right hand. He speaks to what I believe are two young monks (by my boyfriend lovingly referred to as ‘donuts’). He is a wise old man that teaches.
So what does he teach? He is the head of the church, so he is the highest authority of God on earth. Pillars are a connection between the earth and the sky. By teaching his students, the Pape is the connection between the earth and the heavens. He is teaching church doctrine.
I was raised as an atheist, but when I started studying art history, I obviously needed to learn a thing or two about the Christian faith and church doctrines. I was very surprised. In my opinion, many things that I was brought up to be ridiculous, stem from a sincere faith and love and have corrupted over time. It is very hard, apparently, to keep that genuine faith and love alive, and the acts become hallow over time. This must be the darker side to our Pape: empty and hallow statements that have nothing to do with faith. It reminds me strongly of the stories of the convent of Cluny in France.
The problem is that there is probably no other way it can be done. Ultimately it is up to the students to get through to the core.
His staff is very unusual. I compared it with the Heron Conver, the Hadar, the Soprafino and the Vieville (also with the Vandenborre Bacchus, until I realized there wasn’t much point in that because that deck doesn’t have a Pope card). The Heron, Hadar and Soprafino have the Pope depicted with a staff with three crosses. The Vieville has the Pope holding a curved Bisshop’s staff. The Dodal Pape doesn’t resemble any of these, although it does have a curved part.
In spite of my promise not to do any research, I poked around on the internet and in my iconography books anyway, so here’s some interesting tidbits about staffs: the curved staff is the attribute for bishops and abbots, and until the 11th century, popes. Popes didn’t use the curved staff after that, but the staff with three crosses. This is also the attribute of St. Peter. In the 20th century the curved staff made its comeback.
So, do the Vieville and perhaps also the Dodal Pape represent pre-11th century popes? Or are they bishops and not popes at all?
But in order to find that out, I must first find out what kind of staff my Pape is holding. Perhaps I will post a thread about it in the Marseilles section.
The sketch: I finally ran out of my wee cardboards, and the paper cards really weren't working. I used a larger format, despite my reservations about it ( a larger format can make one a bit overambitious, which can kill spontaneity). I think the result is all right, but I will continue to experiment.
http://img.photobucket.com/albums/v465/Tesseljoan/pape.jpg
I wrote very little this week, but I spent a lot of time on my drawing. I made this one on a larger format, closer to A4 then card size. I may not have learnt a lot intellectually, but I do feel I have gotten to know this card, which was the purpose of the 78 weeks. Below is the link to my sketch. He turned out a little stern, but I don’t think he is unkind.
What I noticed for the first time, is how well the pope is drawn. We may dismiss these woodblocks as ‘bad art’, but when I started to mimic the draperies in my own sketch, I noticed that the folds are perfectly drawn… even the shadows are right! I have never thought a Marseilles deck ugly, but I do hold the art in much higher esteem now.
Behind the Pape stand a couple of pillars. It makes a sharp contrast with La Pances, who has a cloth behind her. The pillars are firm and solid, as opposed to the gentle and concealing fabric in the La Pances card.
The Pape is the first card in which a figure speaks – as is symbolized by his right hand. He speaks to what I believe are two young monks (by my boyfriend lovingly referred to as ‘donuts’). He is a wise old man that teaches.
So what does he teach? He is the head of the church, so he is the highest authority of God on earth. Pillars are a connection between the earth and the sky. By teaching his students, the Pape is the connection between the earth and the heavens. He is teaching church doctrine.
I was raised as an atheist, but when I started studying art history, I obviously needed to learn a thing or two about the Christian faith and church doctrines. I was very surprised. In my opinion, many things that I was brought up to be ridiculous, stem from a sincere faith and love and have corrupted over time. It is very hard, apparently, to keep that genuine faith and love alive, and the acts become hallow over time. This must be the darker side to our Pape: empty and hallow statements that have nothing to do with faith. It reminds me strongly of the stories of the convent of Cluny in France.
The problem is that there is probably no other way it can be done. Ultimately it is up to the students to get through to the core.
His staff is very unusual. I compared it with the Heron Conver, the Hadar, the Soprafino and the Vieville (also with the Vandenborre Bacchus, until I realized there wasn’t much point in that because that deck doesn’t have a Pope card). The Heron, Hadar and Soprafino have the Pope depicted with a staff with three crosses. The Vieville has the Pope holding a curved Bisshop’s staff. The Dodal Pape doesn’t resemble any of these, although it does have a curved part.
In spite of my promise not to do any research, I poked around on the internet and in my iconography books anyway, so here’s some interesting tidbits about staffs: the curved staff is the attribute for bishops and abbots, and until the 11th century, popes. Popes didn’t use the curved staff after that, but the staff with three crosses. This is also the attribute of St. Peter. In the 20th century the curved staff made its comeback.
So, do the Vieville and perhaps also the Dodal Pape represent pre-11th century popes? Or are they bishops and not popes at all?
But in order to find that out, I must first find out what kind of staff my Pape is holding. Perhaps I will post a thread about it in the Marseilles section.
The sketch: I finally ran out of my wee cardboards, and the paper cards really weren't working. I used a larger format, despite my reservations about it ( a larger format can make one a bit overambitious, which can kill spontaneity). I think the result is all right, but I will continue to experiment.
http://img.photobucket.com/albums/v465/Tesseljoan/pape.jpg