Thursday, April 8, 2010

Saint Catherine's Monastery -- Allen Mihecoby












Profile of a Sacred Place: Saint Catherine’s Monastery

I. General Description
On the Southern Sinai Peninsula in Egypt and nestled at the foot of Mount Sinai itself, lies a remote monastic community which has become known as Saint Catherine’s Monastery. The genesis of Saint Catherine’s may be traced back to Empress Helena’s construction of a small chapel in 542 a.d. This chapel was built over a site believed to be the location of the burning bush, where the Jewish and Christian God had a conversation with the biblical prophet Moses. During this time period the Monastery would attract both pilgrims and pillagers alike. At some point between 527 and 565 a.d. Emperor Justinian and Empress Theodora would enlarge the settlement and enclose the Chapel of the Burning Bush within fortress-like walls in order to protect the monks from hostile Bedouin tribes. In 2002 the United Nations Educational, Scientific and Cultural Organization inscribed the location as a World Heritage Site. (Sulzberger 1987; World Heritage Site N.d.).

II. Architectural Design
The Saint Catherine’s Monastery complex has been described as having “the appearance of a Roman or Byzantine Fortress.” (Atiya 1952: 579). Indeed, it is regarded as “among the finest surviving examples of Byzantine architecture.” (The Kelsey Museum of Archaeology N.d.). The fortress walls were built of the brown granite that is native to the area and measure approximately five feet six inches thick and 39 – 49 feet in height. The entire structure is overshadowed by a tower rising from the Church of the Transfiguration. (Sulzberger 1987). The structure has undergone several renovations over the decades; however, the architecture has remained true to its monastic roots. Azia Atiya, Professor of Medieval History at Farouk University, has described the location as “a typical medieval establishment. With its circuitous passages, vaulted corridors, and flights of half-worn stone stairways, with its basilica and numerous chapels, its chapter-house, refectory, scriptorium or library, its monastic cells, guest-house, mills, store-rooms, work-shop, oil-press, distillery, water wells…” (1952).
One significant feature is that the Saint Catherine’s is the only Christian monastery that is also home to a Moslem mosque -- complete with minaret -- that was constructed in 1106. The Prophet Mohammed was so impressed with the work of the monks at the Monastery that he granted them protection and freedom from taxation. (Sulzberger 1987). Those of the Moslem faith have thus sought to offer their protection and assistance.




III. Harmony with Nature
The Monastery was situated with nature very much in mind. It was built on the upper slope of Mount Sinai in order to avoid a perpetual conflict with the annual torrential rain runoff. (Forsyth 1968). In addition, the monks sustain themselves by growing their own vegetables. The fertile soil for these gardens had to be brought in by hand, as the surrounding desert sand would not support such a garden. The monks also carefully cultivated the land area around the Monastery and planted Cypress trees. The building materials of the fortress, the large blocks of granite, were quarried from the indigenous rock beds. The Monastery is situated in close proximity to several other Holy Sites. In its “justification for inscription,” the UNESCO noted that, “It demonstrates an intimate relationship between natural grandeur and spiritual commitment.” Despite the fact that the structure is made by human hands, considering the spiritual connotations it seems to “fit” within the geography of the area.


IV. Symbolism and Sacred Objects
The community has long been venerated by Christian pilgrims due to its associations with the Burning Bush and the relics of Saint Catherine. However, it has gained further renown for housing an ancient library that is second only to the Vatican’s library. Among the many treasures in this library are fragments of the oldest surviving Bible, the Codex Sinaiticus. (Veash 2002). Additionally, the Monastery has been adorned with priceless icons, frescoes, and mosaics. Perhaps one of the more famous art works is the sixth century mosaic of the Transfiguration which is located in the Church of the same name. (Sulzberger 1987).
The mountain upon which it is located is known by many names: Mount Sinai to the Christian, Jebel Musa to the Muslim, and Mount Horeb to the Jewish. The mountain is held sacred by each of these three world religions due to events such as God delivering the Ten Commandments to Moses. (UNESCO N.d.). Moreover, the Monastery has become recognized as an “emblem of peace between peoples of differing faith, language, and culture.” (“The Official Website” N.d.). By passing the test of time, the Monastery has thus gained a secondary meaning.



V. How it is used by Worshippers
Though the total population of monks and novitiates has waned over the years Saint Catherine’s is regarded as the oldest continuously inhabited monastery, dating back to the third century. (Veash 2002). Thus in addition to focusing on a dedication to prayer and mediation, the current 25 monks continue to administer to the spiritual needs of the surrounding community and to the increased traffic of pilgrims. The main church, the Katholikon, and the Mosque are still in use today. Saint Catherine’s Monastery has become a major tourist destination known not only for its proximity to the Biblical Burning Bush but also for the treasured relics housed within.



VI. Sources
Atiya, Aziz S. “The Monastery of St. Catherine and the Mount Sinai Expedition.” Proceedings of the American Philosophical Society. Vol. 96, No. 5. 15 Oct. 1952. Web. 18 March 2010.
Forsyth, George H. “The Monastery of St. Catherine at Mount Sinai: The Church and Fortress of Justinian.” Dumbarton Oaks Papers. Vol. 22. 1968. Web. 18 March 2010.
The Kelsey Museum of Archaeology, University of Michigan. “Monastery of St. Catherine at Mount Sinai (with Princeton University and the University of Alexandria). The Kelsey Online. N.d. 18 March 2010.
The Official Website of the Holy Monastery of St. Catherine at Mount Sinai. “The Holy Monastery of the God-trodden Mount Sinai, Saint Catherine’s Monastery.” The Holy Monastery of St. Catherine at Mount Sinai. N.d. Web. 18 March 2010.
Sulzberger, C. L. “In the Sands of Sinai, an Ancient Monastery.” The New York Times. 29 March 1987. Web. 5 April 2010.
UNESCO World Heritage Centre. “Saint Catherine Area.” United Nations Educational, Scientific and Cultural Organization. N.d. Web. 18 March 2010.
Veash, Nicole. “In Ancient Monastery, a Stunning Library.” Christian Science Monitor. 9 May 2002. Web. 18 March 2010.
World Heritage Site. “World Heritage Site: Saint Catherine Area.” World Heritage. N.d. Web. 5 April 2010.

Wednesday, April 7, 2010

Thursday, April 1, 2010

Allen Mihecoby - Muesum Visit




“Peonies”
Allen Mihecoby

Amy Morris - Muesum Visit






Frederic Remington
The Luckless Hunter
1909
Oil on canvas
26 7/8 inches x 28 7/8 inches
http://www.sidrichardsonmuseum.org/nu_site/collection.php/art/66

Wednesday, March 31, 2010

Clark Metzger - Art Muesum Visit


Garrett Montgomery - Art Muesum Visit


After walking around the Dallas Museum of Art for a few hours, I finally found the picture I wanted to write my paper about. This painting is of the Eiffel Tower and however it being that I forgot to look at who the artist was and the name of the painting, my descriptions will be

Thursday, March 11, 2010

Group Paragone Discussion

Do you think one type of art is superior to another?
Our group concluded that there is not a superior form of art. Our
main reasoning is that all forms of art require a very specific skill or
talent and that placing value on it is largely subjective. In some
cases, not just in our Picasso group, it is all “in the eyes of the
beholder” as Allen stated.

Do you think a discussion as a paragone is useful?
We had mixed feelings for this topic. Amy and Clark thought that the
use of a paragone is not useful, feeling that direct comparison of
different art forms is more confrontational than useful. On the other
hand Allen and I did not use the word “useful” in our statements, though
we both feel that they are interesting and give us a good amount of
information about the subjects that are being discussed.

How did your week as an artist influence your interpretation of this
reading?
Except for Clark, who is still reassured that he has difficulty with
art, our group seemed to benefit very much from our “standing in the
shoes” project. For the painters it gave them a better understanding of
the challenges that accompany painting, and both Clark and Amy agreed
that the proper use of light and shadow is very difficult. As for me,
doing the sculpting, I realized that it is much easier to picture in
your head what you want than to actually sculpt it using a particular
medium.