Understanding the Developments of the Gothic Style, Essay Example

The different eras of artistic creation has made it easier to analyze human artistry and the relative ways by which human generations have been fully dependent upon especially when it comes to defining the condition of human expression and how well it is able to make a distinct effect on empowering the human civilization towards development. Gothic Art is one distinct era of artistic development that has made a mark in history[1]; and its influences on the current growth of artistic presentations are still evidently extensive up to these days. Appreciated by several generations, several arts produced under the Gothic style are currently being analyzed and understood to have a definite form of insistence on how humans today are able to appreciate the past implications of artistic applications in determination of the culture, the beliefs and the social construct that humans then have been specifically involved with.

In the readings presented by Panofsky and Wilson, several points of defining how gothic art has been coined fully through the presentations made in Gothic churches have been discussed accordingly. These discussions entail to make a definite insistence on how the culture and the living system of the people before have duly affected the physical structure of churches according to the purpose that they serve in the community. This discussion shall be dependent on identifying the artistic value of Gothic churches and abbeys not only as they define the development of art, but also as they represent the social developments that are happening in the society during their time and the options of growth that are definitely entailing to make a mark on how Gothic art represents human culture other than just the art itself. Through the use of guide questions, such analysis shall be given particular attention to.

Questions and Response (Point of Analysis)

According to each author, what drove the development of the Gothic style?

Panofsky practically pointed out that when it comes to creation of Gothic Style churches, it was evident how the community viewed churches not only as a stronghold of their faith, but also a place of refuge; one that belongs to God and the authorities that has the capacity to evenly protect them. Hence, to make sure that the churches reveal the said meaning and provide the community with the assurance that they need to survive such point of development, it could be understood that strong structural foundations were required to establish the abbeys. The outer layer of the abbeys were expected to be artistic; expected to send out a meaning of hope and assurance to the people. To do this, the design if such areas became more concerned about sending out proper message to the people; giving them a better chance to understand what the church is able to do for them. It has also been made clear by Panofsky how such purpose of creating Gothic churches have changed through time. As the desire for political power risen in the ancient communities, leaders have become more concerned on how the abbeys [one of the most influential structures of the past] could actually serve their desire of controlling the people and directing the societies towards the development that they themselves would want to impose on the people.

On the other hand, Wilson focuses on how the abbeys represented through gothic art reveals the beliefs of the people on religious salvation. The light passing through the ceilings, according to Wilson, basically enhances the feel of heavenly connection that the abbeys have with God[2]. Noticeably, it could be analyzed that with such attention to details, Wilson was able to pinpoint some of the most specific structures that the makes the gothic style churches capable of handling distinct insistence on how the society grows into a more evident interest in becoming more religious and connected to God at the time.

How much does each author credit the innovations of the Gothic to an individual or region?

 Panofsky primarily agrees that each region’s leader has something to do with how the churches are designed. Although Gothic style art has been applied accordingly to support the structural standing of these establishments, it could be understood that the consideration over social status in each region affects the overall value of the abbey that is fully dedicated towards improving social stratification among the members of the community. Wilson, however, points out that leading a much better contention of living has made it easier for creators and builders of abbeys in different regions to decide what specific features of gothic art would they implicate as part of the design, which will enhance the function of the area for the community and all other officials and church staff that the structure ought to house and serve.

What kinds of evidence are available to scholars who want to study the development of the Gothic style?

Historical data that are kept in record [especially regarding gothic style churches that existed before but now have been changed, transformed or removed] provide a distinct source of competence on how gothic style churches have been fully accomplished to have been supported by architects and builders in the past. Current scholars aiming to follow such a pattern of development are expected to become more involved in digging deeper as to what such complex form of art reflect about the society and how the surrounding culture does support the different features that are seen and are evident in each structure.

Do you think this evidence is reliable?

 The evidences provided through history that is dependent on social constructs and development are reliable enough to impose a better sense of defining what is meant by extensive architecture that is defined through artistic formation of structures. Merging function with design is one feature of the Gothic churches that is still useful at present. Studying the evidences of such feature of the churches help well in making a mark on how the ancient artistic architecture still relates to the role of architecture in the society at present.

How does each author use this evidence?

 Panofsky did use the point of historical data at an extensive level; even showing his readers how social issues then have affected the functions of the church which pushed the builders to consider particular features that made each abbey more responsive to what the leaders want the structure to be for. Wilson, focused on faith, the people and religion, imposes that when it comes to determining the different options of structural presentation, it was as if the people who were involved in building the churches were more concerned on how the area would be able to send out a message to the people, giving them a better sense of what religious hope and sanctuary was all about.

Conclusion

What is accounted for as good architectural design notes not only the structural value of a particular creation, but that of its cultural presentation of the time from which it has been established. In the readings examined, it is rather clear how gothic style churches served such purpose for history and research. Noticeably, their distinct design tell so many stories about the past and how matters came to be [especially when it comes to determining political powers and how the connection between the state and the church have already been established and strengthened through history]. What makes such concept of development effective is that of its implicative connection to the role of artistic architecture at present, and how current researchers find such connection rather effective in making a statement as to how practical gothic art is for the current generations.

References

Panofsky, Erwin . Abbot Suger on the Abbey Church of St. Denis and its Art Treasures (Princeton, 1946), 108-145

Wilson, Christopher. The Gothic Cathedral: The Architecture of the Great Church 1130-1530 (London, 1990), 7-43.

[1] Panofsky, Erwin . Abbot Suger on the Abbey Church of St. Denis and its Art Treasures. 108.

[2] Wilson, Christopher. The Gothic Cathedral: The Architecture of the Great Church. 40.