SUMMARIES and CONTENTS
TENTH LECTURE Dornach, 5 October 1917
The
artistic representation of imaginative-spiritual imagery of the
Fourth post Atlantean epoch moving towards the start of the
more materialistically orientated 5th epoch. Raphael:
“Disputa” and “School of Athens”.
Raphael's “Disputa”: -
The
experience of Raphael's “Disputa” revealed, in its
time, a deep truth at the beginning of the 16th
Century, but this experience is no longer possible today.
Raphael painted for some 28 years under the influence of both
older popes, Julius II and Bramante. Within his paintings the
method of observing the evolution in Christianised humanity,
through imaginative cognition, came to an end. The re-discovery
of America, the invention of the printing press and Copernican
theories changed the world view and the essence of Raphael's
art was no longer openly accessible. This was a historic
necessity. Spiritual impulses were suppressed by Europeans in
order for their culture to unfold; the Greek orthodox and Roman
Catholic churches split. Spiritual impulses were directed back
to the Orient. The West wanted to constitute the Christian
realm as an empire. Pope Julius II understood this empire as a
sign for what the spiritual world was in reality. Raphael, a
man of the 5th post-Atlantean epoch, artistically
depicted his opposition of the 4th epoch in his
“Disputa” painting which is explored thoroughly in
this lecture, against Luther's penetrating rally against the
senses. The colour and form-rich testament of the south in
Raphael's imagination is replaced by the formless musicality of
the north without gesture — pushed back from the south. In
contrast, the endless perspective in the “Disputa”
display the so-called “School of Athens” gathered
in an enclosed room: the divine is confronted with what the
human soul can experience. Those who look, contrast with those
who speak, in the central figures. The figure of Paul as a
problem for Raphael: seeing turning into speaking.
ELEVENTH LECTURE Dornach, 15 October 1917.
The
battle for individual artistic expression in the middle of the
assertion of traditional eastern (Icons) from the south during
the important period during the decline of the fourth and the
rise of the fifth post-Atlantean epoch. Icons, miniatures,
German Masters.
The
change in direction of the 15th Century had been
prepared for a long time. An important event in the historical
development of the Western world happened during the reign of
Karl the Great around the year 800. The papacy took hold of the
leadership of Europe, the central European empire cooperated
with the Roman Catholic Church. In contradiction to the fending
off of the eastern artistic influence and that of the southern
central Europe there were Icons and Raphael's Madonnas. Room
had to be made for what the folk soul needed to bring. This was
committed to memory in the northern regions in poetry of the
Nibelungen songs, in Heliand and Waltkers von der Vogelweide.
Art demanded image-rich expressions of events yet also felt
itself bound by rules which came out of southern and central
European traditions. The battle between these two streams is
particularly clearly seen in miniatures, the initials of the 5
saints. The city culture brought the power of individual
expression. In Koln, painting in traditional art design was
urged to depict events by weaving in the eastern influence. Two
more strongly divergent impulses are apparent in southern
Germany (altars of Tiefenbronner and Sterzinger). Two strong
streams of events are evident at this point in the development
of Medieval art: from the south an Eastern influence; the other
rising from the depths of the folk soul itself.
TWELFTH LECTURE Dornach, 22 October 1917.
The
echoes of the three main influences of the fourth post
Atlantean epoch, growing together in time with city culture
towards the gold and gemstone art worked into the fifth epoch:
old Christian sculpture, sarcophagi and relief. Bernward von
Hildesheim.
In
the present war filled time there is an echo of the third and
fourth post Atlantean epochs working into the fifth.
Characteristic of the fourth epoch is the interpenetration of
the spiritual into the sense perceptible: the beautiful human
form extending itself into space, gracefully moving in time. In
lively artistic expression Christianity is depicted as an
opposition to death. Now the inner, spiritual impulses of the
third post Atlantean time rose as rich in symbols. The
beautiful Greek emotive statuette of “The Good
Shepherd” opposes the still awkward image of death in
three crosses with the forms in front of them: the freestanding
Greek forms are pressed together into one composition. In the
early Christian sarcophagus sculpture the image-rich
composition become increasingly rich in symbolism. Example of
the monogram of Christ in connection with the plant and animal
motifs. In the Egyptian culture of the 3rd
post-Atlantean epoch the priests received the words as revealed
from above, the same as the northern priests throwing runes. In
the sarcophagi reliefs, in the ivory carvings, etc. the natural
depiction coincided with the symbolic meaning. The Magic of
signs: the supersensible permeating the sense perceptible — as
such it was claimed by the church. The magic of what was hidden
in the earth: gold and precious jewels as symbols. Gold and
precious gem art in the rise of city culture. The gold-mystery
in the Nibelungen saga. A new understanding of the Christ
impulse permeated with the gold mystery is necessary in our
chaotic times; this is also learnt by those who have a
spiritual sense towards the development of art.
THIRTEENTH LECTURE Dornach, 29 October 1917
Transformation in the understanding of Christ in artistic
representation: Old-Christian painting and mosaic. Italian
masters. Dürer.
The
artistic representation of the Christ form beginning in the
2nd, 3rd Century after the completion of
the Gospels. The Christ monogram becomes surrounded by forms of
ancient artistic developments. Application of the pagan to
scenes in the Gospels, the Christian representation linked to
the pagan myths: for example “The Good Shepherd”.
The specific pagan: the human body permeated by the universal
soul-spiritual. In the Greeks is the last development of the
cosmic-universal art form to be found: individual humans in
satyr form. With the development of the western Christ-type the
general-cosmic predominated for long and individual-human
element contributes. The Roman tendency to make the human
individual abstract allows no expression for the human
individual, up to Cimabue. In Giotto specific human soul
qualities flicker through the cosmic spiritual. With Fra
Angelico a western-Catholic element is poured over art. Later a
newer Greek influence appeared in the rise of Renaissance. By
contrast Dürer came without all the cosmic impact: The
human being within Christ. A new endeavour in wood sculpture
for the Goetheanum was created.
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