Art of the Eternal

330 Pages·2015·22.83 MB·English

by  Victoria Charles

Author:
Victoria Charles

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All rights reserved.
No part of this publication may be reproduced or adapted without the permission
of the copyright holder, throughout the world. Unless otherwise specified,
copyright on the works reproduced lies with the respective photographers,
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ISBN: 978-1-78310-778-0
Victoria Charles

Art of the
Eternal
Contents

Introduction
I. Ancient Conceptions of Death and the Afterlife
II. Christian Doctrine of Death and the Afterlife
III. Visions of the Afterlife
Ancient Egyptians
The Etruscans
Relics of the Dead
Etruscan Doctrine of Death and the Afterlife
Ancient Greeks and Romans
Christianity
Early-Christian Doctrine of Future Life
Medieval Doctrine of Future Life
Modern Doctrine of Future Life
Christian Symbolism
God and the Trinity
The Cross
The Serpent
Symbols of Death
Purgatory and Hell
Heaven
Reincarnation and Enlightenment
Bibliography
Index of Illustrations
The Buddhapada, 1st century BCE.
Limestone panel, 67.5 x 46.25 x 15 cm.
Great Stupa at Amaravati, Andhra Pradesh.

“To see a world in a grain of sand,
And a heaven in a wild flower,
Hold infinity in the palm of your hand,
And eternity in an hour.”

— William Blake, Auguries of Innocence
Introduction

Like as the waves make towards the pebbled shore,
So do our minutes hasten to their end;
Each changing place with that which goes before,
In sequent toil all forwards do contend.
Nativity, once in the main of light,
Crawls to maturity, wherewith being crown’d,
Crooked eclipses ‘gainst his glory fight,
And Time that gave doth now his gift confound.
Time doth transfix the flourish set on youth
And delves the parallels in beauty’s brow,
Feeds on the rarities of nature’s truth,
And nothing stands but for his scythe to mow:
And yet to times in hope my verse shall stand,
Praising thy worth, despite his cruel hand.

— Sonnet 60, William Shakespeare

The mysterious preoccupation with death and the afterlife has been constantly
explored and revisited throughout time. The harsh reality of death and the aging
process, act as a foundation for the belief in eternal life. Human beings in hopes
of evading death, seek satisfaction in imagining a source that could grant
immortality. Throughout time, symbols such as the ‘Fountain of Youth’, the
‘Holy Grail’, and the ‘Philosopher’s Stone’ demonstrate both the alluring nature
and popularity of this subject. As a result of nature, myth and religion, humans
are continuously reminded of the impending notion of death. The stories of
Sisyphus, Achilles, Icarus and a plethora of other legendary characters, act as
didactic tools illustrating the impending fate that ensues when humans attempt to
defy the laws and limits of the universe. Without death, humans would
metaphorically be subjected to the fate of Sisyphus, with the unfortunate task of
pushing a massive stone up a perpetual hill. Earthly immortality represents an
unnatural entrapment which would greatly impede the cycle of life. The seasons
constantly remind us of the transient nature of the universe; the revival and
return of spring is dependent upon the dismal and sombre quality of winter.
Mankind cannot escape death because it is deeply ingrained in the environment
that surrounds it and therefore represents an integral part of what it means to be
human.
However simply acknowledging the inevitability of death, does not provide us
with the ability to perceive and understand the event itself. Human beings can
prepare for the causes and circumstances of death, yet there is no explanation of
the inmost reality of the fatal event. The circumstances of the mortal hour are
infinitely varied, yet the crux of the experience is continually the same: there are
a thousand modes of dying, but there is only one ‘death’. Therefore, recognising
the possibility of an indefinable death implies the existence of an unknown, an
extremely overwhelming realisation. In order to come to terms with this fact,
humans shift their focus to the possibility of an afterlife, finding comfort in
imagining its splendour. John Keats embraces this idea of the indefinite in his
famous poem Ode on a Grecian Urn, expressing “Heard melodies are sweet, but
those unheard / Are sweeter; therefore, ye soft pipes, play on;” (Keats, Ode on a
Grecian Urn, lines 11-12). Evidently, believing in an afterlife alleviates the fears
often associated with death. The dying Socrates said “that he should trust his
soul on the hope of a future life as upon a raft, and launch away into the
unknown.” No emblem of our human state, with their mysteries, perils, threats
and promises, could be more impressive than that of a vessel launched into the
great deep. Thus the imagination broods over both the prophetic warnings and
alluring invitations characterised by these mysterious havens of eternity.
The obsession with the Eternal is deeply embedded within history; entire
civilisations and cultures have developed belief systems surrounding the
prospect of life after death. Elaborate art works such as sarcophagi, tomb relics,
religious paintings and even more abstract pieces, provide an excellent socio-
cultural lens in which to understand specific beliefs, rituals and philosophical
concepts regarding the afterlife. In addition, the juxtaposition between art and
excerpts of poetry and prose creates a dynamic force, demonstrating the sheer
intensity of this topic.
The Great Pyramids of Giza, c. 2600 BCE and later.
Egyptian Old Kingdom. Stone, Giza.
Pieter Bruegel the Elder, The Triumph of Death, c. 1562.
Oil on wood, 117 x 162 cm. Museo Nacional del Prado, Madrid.

I. Ancient Conceptions of Death and the Afterlife

Examining Egyptian, Etruscan, Greek, and Roman works of art gives us an
invaluable insight into some of the many ways that human beings prepared for
death and the journey to another realm. The majority of the works of art within
this chapter are tomb relics or other forms of funerary art which often depict the
deities, ceremonies, customs and beliefs surrounding death and the afterlife.
Exploring these cultures and their works of art collectively illustrates several of
the recurring themes and beliefs that existed amongst these civilisations. For
example each of these religions utilised some type of judgement process to
determine the fate of the deceased, yet the details and myths surrounding this
process are vastly different.
Titian (Tiziano Vecellio) Adam and Eve, c. 1550.
Oil on canvas, 240 x 186 cm. Museo Nacional del Prado, Madrid.