tv Doc Film - The Angel Chronicles Deutsche Welle January 4, 2018 10:15am-11:00am CET
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on facebook and twitter up to date and in touch follow us. when christianity first arose it was without images it had only words only script images were first introduced into the christian's assembly rooms where they were concentrated at the far end of the simple whole cold the it plays yes but once the walls were adorned with images they told a story. how did these images arise how did these stories come up baggage and what role did
angels who were closest to him. they are spiritual beings like him beams of light. the angels proclaim what god wishes to tell people. his they're cold and they would imagine to be all new president always talking guiding advising and judging people and so they became a central theme of the pictorial history that week old west and. christianity became the state religion of the roman empire at
a time when it was already beginning to collapse the city of rome the capital was a civilized metropolis of millions whose standards of living and represented the pinnacle of human history. the roman emperors placed themselves on the same level as the gods even today we talk of their buildings and legacies as monumental which also means overwhelming. and to find baptists close to the christianity whether it likes it or not is also an add to the roman empire they were temporally contingents the roman empire had a claim to universality christianity also claimed universality and translated it into the commandment to go into the world and preach the gospel to all creation because the india.
the first images the first pictorial symbols arose alongside the script when the christian or a trees in rome was still hidden underground in the catholic or. these pictures were different from those of pre-christian i'm ticketing and portrayed angels wearing halos instead of winged messengers with laurel reeds but in the beginning there were very few specifically christian images. and take our motion as well as your hats can it don't matter the antique roman religion didn't develop any dogma and for that reason provided no order from our border first becomes apparent in christianity for instance in the hierarchy of the angels who we can see as the successor to the mynah functional gods of the romans learned of that but continuity and transformation volatile. but what were
the models for the superhuman images in christendom where they the heroes of antiquity early christian imagery has its roots in the assyrian babylonian period with its anthropomorphic creatures for example the firy and winged cherub. but this isn't because if let's take a. concept of demons which in the greek hero were neither good nor bad the morning or demons were only intermediaries between the day it is and humanity in christianity they are eco defined as unclean spirits the new testament teaches us that they are the repudiated and resentful gods of the greeks for ricky vs and then i'm delighted to christian. instead of adopting the pictorial world of antiquity christianity chose to take
a detour through demonic beings which took on an idealized human form copied from the n.t. god's angels are based on models taken from antiquity and the babylonian demons even their name reflects these roots anger loss is greek for messenger and the chair of bears a resemblance to the early demons. certain uses is the pseudo dionysius is the ideal author because he imagines the angels heaven as a world organized according to three sets of three it's made up of spheres nested in each other until they reach the highest mystery who's caught him is that he got . one from decent person again and from this highest mystery received only as a sea of light divine glory is radiated to the world below so now it consists not
just of visible light but also of the knowledge of who god actually is this is based on the first level of angels the seris from them to the cherubs who pass it on via an almost visible spiritual connection to the throne of the political masters in south side and so vital. and thus the portrayal of angels in the late middle ages is above all an indication of the primary thing communicated by christian images order. the successfully through one of these or reflections on. jensen how can i portray god how can i portray what is holy and purely spiritual without it becoming sensible and being dragged down to the level of antiquity which the christians termed paganism. thus and because. the picture of a hierarchical order in heaven is the key to christian imagery order is the prerequisite for perfection.
the first step towards a self-contained christian iconography of angels didn't take place in rome in the fourth century a.d. the roman empire collapsed into two hall of rome and the western part of the empire was overrun by the goths then reconquered by eastern roman by xantia in the mid six century rome became a provincial city of the buys and time empire with red banner as its capital. this is where the first systematic pictorial history of the still young christendom as a synthesis of greek philosophy and the christian doctrine of salvation was developed. did drive that model of a citizen of the earth i was a simple way to get this tired of you have a number three is normally reserved as
a symbol of the day it is this but in the old testament we also have angel often it is cited in the prophet izzie kill or allow to look up to heaven they see being surrounding god to fit they are either ordered in groups of four or have four facets for example eagle like lion like all human like beings and figures are equal or few it is something that was imported from the babylonian iconography and integrated into christendom god is surrounded by groups of four figures when seated on his. throne and that's why alongside the number three which symbolizes gaunt there is a number for an extension symbolizing his rule in all full worldly spheres and eras and i figure since that's also why the derivatives of three and four twelve and twenty four or so endowed with a holy systematic significance heights systematically door to. the oldest mosaics of christian iconography out to be found in the sacred buildings of
ravenna opposite a series of martyrs there's a series of holy virgins that individual expressions are not important but the series and the number. sixteen prophet stand above them which signifies twelve plus four and the fact that they are placed above the virgins and the martyrs expresses their place in the hierarchy and they're all thora g. within christendom. even higher up scenes portraying christ's passion even this position denotes hierarchy order here in rev and at the hierarchy is formulated and translated into a system of images. the beginning and the end of this mural are reserved for the key figures of holy scripture mary and christ. they are positioned formally alongside each of them are two angels that
look out directly on the view of. the angels all the courtiers whole body gods of mary and jesus christ. this simple pictorial system became a canon a bomb which everything else was based from then on the churches became larger and the at ces and domes expressed the unity and perfection of the christian cross mass . in the way to range its images the christian pictorial system took over and transcended the buys and time cold shoulder and its portrayal of power and representation. that it when you read the thirty eight g.b. unity on constantine the great we can discern a foam in f.l.
all day in the wild i want god one and piled one emperor constantine was an advocate of an eeg on a terry and god exactly a hierarchy order the system of subservience this reflected says here political relationships business. and. the revenue was where the synthesis between the systematic thinking of the greeks and the christian doctrine of salvation became translated into imagery. amidst the ruins of rome new churches were built and ancient roman buildings repurposed by christians the pictorial canon over a van and made itself felt in some time and trust of adding the larger the church was the more imagery could be depicted.
here for the first time mary was depicted directly alongside jesus christ as his companion the mosaic still expresses representation directly but the angels are missing. thus the picture clearly indicates that the central figure of the new testament jesus christ the redeemer is superior to the angels in the hierarchy even though he was a human being. the upper basilica of san clemente in rome was built at the beginning of the twelfth century in it the buys and time courtly order is abandoned the christian cross dominates the ordering of the spheres still expresses number and order but more important is the concentration on the christian visual symbols they signify the opposite of power christ as the holy land the center of his flock.
i'm this is god as the angel of peace among us a full god it's a different pictorial message from those of antiquity all the buys and time empire . around the turn of the millennium the church order as expressed in images went through a profound crisis of increasing worldliness and corruption the authority of the pope and with it the message of salvation through the one church was substantially shaken. the radical return of the liturgy to the original message of salvation took place not initially but in france in a small chapel near only all the founding motifs of that message of salvation are represented on it's by centime or xanax.
above two small six winged cherubs two other angels dominate the don't. they represent the old and the new testament which in the language of the mosaic were delivered by angels to humankind. the suggestion of a hand tells us that they have delivered the scripture upon god's command and that the path to salvation can only lie in following god's will. this new system of christian liturgy and message of salvation comes from cluny abbey founded in one nine hundred ten by the juke of aquitaine as a benedictine abbey clooney was not only the center of the christian cosmos joining the middle ages but the largest and most powerful church of the christian world it
was only supposed later by st peter's basilica during the french revolution almost nine hundred years later clooney was destroyed as being a symbol of an absolute monarchy that claimed divine legitimation. but today even amid the ruins the pattern significance of this order with its many of the churches and ministries throughout burgundy is still palpable it's no accident that burgundy was home to the most significant monastic orders and of the biggest cathedrals of the eleventh and twelfth centuries the most important pilgrims way to santiago de compostella took them through here. ton cathedral houses the most significant pictorial example of the transformation of christian iconography joining that period it was carved in stone by give back to a spittoon eleven twenty and eleven thirty five.
the main portal through which millions of pilgrims enter the church no longer depicted the power of god but the last judgment christ and the elders the angels that god's throne sits and judge over human souls which in line with the general understanding of this period threatened by evil more than ever. in order to uphold order and the perfection of salvation christ and the angels have to demonstrate that they can differentiate between good and evil from this point on the rank of the angels changes dramatically in the imagery from now on they become the most important representatives of the ruler of old things a god that rewards good behavior. as christ companions the angels are a lot of the role of completing salvation the angels are once again the mediate has
between god and humanity they fight for god and full humanity against evil. the pilgrims moved within the great knaves as though they were in a parade and looked up into the capitals with a vivid illustrations of the evil in old its incarnations. the second temptation of christ taken from the gospel of luke makes it clear what's happening here christ determination to resist heresy and damned. the suicide of judas chose what happens when someone turns away from god the monumentally impressive knave signified to the believers that any gods word could help against old these temptations and human weaknesses. or am home. to
have. had ng southwards with the mountains just visible on the horizon lies one of the most important cities of the middle ages these are. the modern day said emirati was originally a burial place beyond the city walls the whole complex with its cathedral baptistry and campo some toll was bigger. in thirteen hundred. the camp was the knowledge a cemetery of the christian middle ages a message place where death damnation and redemption played a prominent role here we find a monumental representation of the last judgment. this powerful fresco must have shocked its contemporaries it begins with the last judgment on to ruffle christ who reveals his wounds and flings his outrage like
lightning in the direction of how. this anger is offset by the gentle virgin mary to his left. beneath them is an angel with us at high level with the viewer is the warrior michael with his sword. another an angel herds frightened citizens of towards damnation the faces up terrified and pleading but no one can escape divine judgment this is a recurring motif in christendom in the face of the might of the last judgment the wealth and grant of bishops and even the power of money to no avail. in the frescoes pictorial arrangement the artist has paid tribute to social status the kings occupy the top ten even one of the angels reveals its fear in the face of
the past and unavoidable ity of the last judgment announced by trumpets on the left we can see the saved these two are portraits of real life citizens of pisa their facial expressions are calm and they all look up to the muscle figure of the virgin mary into seso before the judge. their body language is relaxed the face is a clear although their expressions reveal intense concentration. pease's pious citizens are expressing their heartfelt gratitude for the victory of good over evil . only above the struggle does tranquility reign these angels receive the souls who have already been saved. it's as if in addition to the wind be
understood concepts of the apocalypse in the last judgment a new orientation is taking place towards the end of the twentieth century not far from the russian pasts on the edge of the southern alps the monastery of muddy and back was established to this day the benedictine monks there assembled in a narrow vault that are a tree. marian bagmen history is famous for its roman frescoes in a symbolic series of images they reinterpret human beings path to salvation they are brought closer to the angels by pursuing their battle against evil. humans can rise in the heavenly hierarchy by successfully overcoming evil that is the message of these frescoes. we see the end jet except sin cherubs
recognizable by the six wings. alongside them is the apostle peter who holds the key to heaven in paradise and on his right is a protective angel. this constellation indicates a new link between apostle and heavenly beings man and angel again come closer to one another despite the evil in the world. the most important message though is communicated in the arrangement of angels above the almighty in the man gola in jesus christ appears to be standing on his hand that the real focus is this small angel smaller than all the other have new figures it represents the new human who are to fighting a lifelong battle against evil is seen by christ to be deserving of redemption and
thus as a small angel is taken into the communion of the big angels human beings can rise into the sphere of the heavenly beings and can be redeemed heaven awaits them that's what this fresco expresses the small angel is both messenger and message a new era in the relationship between humanity and the heavenly smear has begun whoa. further southward we reach a place of great importance in christian iconography assisi. in burgundy joining the twelve century monasteries have adopted a strict the organized liturgy and had almost completely rejected imagery. in the thirteenth century new waters arose in central italy this one in assisi was to be a purely mendicant order completely dedicated to charity and neighborly love as the
most direct path to redemption. the building of the lower church began in the early thirteenth century together with thomas aquinas francis of assisi was considered the main renewal of the christian doctrine of salvation. no building from the late middle ages bad as great a testament to the spirit of renewal as that of the hyatt church of assisi. when its name is dominated by giotto's world famous francesco's but the real secret is to be found in the older decorated transepts of the name of what is here translated pictorially is the virgin mary is bodily ascension to heaven and her final exultation over the angels.
in one of the men dollars held up by for an angels jesus and mary are in throne in loving devotion one of the angels is said to have called out who is she she who is raised up from the desert nestling on her love on. angel's profits on the saints assemble around the heavenly throne on which the virgin mary sits alongside has sung as an intercessor on behalf of humanity. what is important here all the protectionists hands saint francis whose face can no longer be recognized pleads for redemption on behalf of his brothers as he is conveyed by mary to her son who listens and gives his blessing to the franciscans. the virgin mary's role in the heavenly hierarchy is in this franciscan church newly
defined she is jesus companion and on with the angels at the same time she remains a human being that signifies that she is the first human being to be redeemed and raised to heaven. the rose window in the outer wall is like a final symbol of this new order. the shape of the sun can be construed as referring to jesus the rose to the virgin mary both forms are united as part of a circle that has only one center god. i've. at the close of the middle ages towards the end of the fourteenth century tuscany became a european stronghold of progress the dominican monk and jellicoe came from the
area around florence and achieved world renown with his portrayals of angels. and in the conspicuous chapel nicko tona is home to the annunciation a popular motif. the messages depicted in the fall most visible was the virgin mary is face still has a generic madonna like quality but is also individually defined and this image symbolizes not only the metaphorical line between the middle ages and the molten arrows it also makes clear what will become more and more important. humans are now represented as emotional and individual beings in the story of salvation.
the lower part of the painting depicts the marriage between mary and joseph what is graham breaking in this wet by from and jenny co is the expression with which he has endowed the figure of mary reserved being the elk angel gabriel she is his equal she represents the human striving for salvation the face expresses humility and dignity yet is still powerful she remains self-conscious and had gesture expresses not subservience but surprise and also knowledge awareness of what is happening she has been endowed with an individual soul and it is for that reason that we still describe her as beautiful. the impact of from the angelic o's would remained basically limited to tuscany he traveled little his main ambition was to embellish the sacred places of worship for
the brothers of his own to. once again the relationship between the history of god. salvation in the world of the profane changed dramatically. the renaissance emerged first in tuscany then in rome it was a blossoming of trade and dot and no since the downfall of the classical world had been so prosperous that of course also influenced the depiction of the angels. the vilified in rome was commissioned by the bank i go in and built by bad assad a pedal soon it is seen as the ultimate expression of the high renaissance and with its perspectives hole it features a room of tom boy painting. the
walls are covered with scenes from the life of an example of a great book first catches the eye is a writing messenger with flowing cloak in the form of a white fan giving the impression of wings beating the messenger is part of a historical allegorical depiction of the wedding of alexander to the persian princess roxana at the center alexander appears and hands the princess the crowd the real focus that was the heavenly messenger half and half an archangel gabriel. alexander is typical of the newly awakened interest in mythical historical figures during the sixteenth century the small angels which look like cupid's a borrowed from the pagan classical era. in classical times cupid's when love calls
depicted as small boys. the art of christendom. makes them into anonymous angels and and celery figures they reveal the meaning and intention of the miral its aim is to move the view ascension is not spiritual. the villa fun a siena is the high point of the renaissance this work shows how far images from the classical era survived into christendom the godlike figures in the heroes return in allegorical form complementing the christian images. at the beginning of the sixteenth century the foundation was laid for the new st peter's basilica in rome it was intended as a proof that christendom suppose the classical era.
in the mid seventeenth century a sculpture was made for the church of sun to muddy adèle of it. it had the same aim to illustrate the ultimate triumph of christendom. the skull. was a successor to me helen jell-o. whose late the end of the renaissance in the beginning of the baroque. the motif of the ecstasy of saint teresa is a variation of the enunciation also depicted by frau angelical but with benny there was a decisive transformation. to rezone is pro-trade in dramatic film many many attempts to make the ecstasy tangible the myths are grown up twisted body is open. from
now on the story of salvation and the motifs derived from it were presented theatrically utilizing old visual tools available that included classical heroes and added grease. precisely at the moment when st peter's basilica symbolize the victory of christian imagery of the pagan antiquity the latter returned in full full sense of the christian world. in the immense coppola st peter's we find the legend of its foundation expressed in the sentence and so i say to you you pizza and upon this rock i will build my church. the new building claim to be nothing less than the greatest monument in the history of the world. time and again the builders dishpan it and down to whether the
immense vault would be capable of bearing the enormous coppola but will. the spirit of the age demanded a massive triumphant check. as an old man benny received a commission from pope clement the ninth to design the entrance to the cast as some tangent of. the building was the muslim of emperor hadrian and the triumphant entrance way over the bridge was lined with statues of the classical gods of victory many replace these with angels converting a pagan monument into a christian. the angels hold the instruments of the passion kristie in their hands thus the road becomes a symbolic way of the cross all via dolorosa like the one walked by the pilgrims in
jerusalem many many converted it into a triumphal procession and the angels bear witness to it with the symbols of christ's passion. the angel with a crown of films was sculpted by many many himself the newly sculpted angel stood in the sequence of statues with the apostles peter and pole who were on it as mata's and he had to proclaim the victory of christendom. the mausoleum of cast down sometimes you know it always dominated the entranceway to run if people looked around now they sold the miracle of saint peter dedicated to the triumph of the holy roman church but this triumph was soon cold into question by knowledge and science. of. battle began for the right to interpret imagery and after bernie's death it was
no longer forty in italy but in the hapsburg empire on the other side of the house . and this helped but here. the help spoke of you visit the headquarters of the hapsburgs in piano the hoff org you'll see on the left and right a representation of how austria ruled the world's oceans and much of the world. the bit behind and since the are going to see it is a plagiarized version of the fall of the rebel an angels associated with michael and this is austria personifying defeating the enemy forces with a lance his we know it from michael he thrusts lucifer into the jaws of hell and nowhere is this try and pass clear as in the michael motif of the christian tradition the church is celebrating its own triumph that's why the church directly adjoining the hoff org is dedicated not just to any old saint but to michael the
hero the general of the angels with his soldierly demeanor dame helen dames i doubt it. any skin at all. this for all of the rebel angels was completed in seven hundred twenty six during the reign of the austrian emperor call the six the michael motif have become much more than merely a central christian motif also signified gaunts forgiveness and the emperor's grand . the church of st paul has the most significant baroque edifice in vienna makes that very clear. it is a sacred building with imperial aspirations the church was intended to symbolize the connection between rome and by send him between the west and the east roman churches that is why it looks rather like the haga sophia in istanbul and contains its imitation trojan columns this too has to be understood in an allegorical way
the absolute monarchs of the modern era wanted to appear as glorious as the roman emperors. in the coppola is the ecclesia with an allegorical figure representing the one true church she wears a gorgeous cloak as the holy grail in her hand and holds the eucharist over the grand having the last supper positioned at the center of the coppola in the patron church of emperor charles the six was intended to signify that his empire would uphold the supremacy of the christian world view. as in borgen abbey is only one as journey away from vienna towards the end of the reign of kala six the baroque painter paolo tolga was commissioned to decorate the central rooms of the abbey with frescos.
even the architecture of the imperial stack case has symbolic significance two flights of steps merge into a single one that implies that two separate spheres can be seen as a unity. religion with its halos sits alongside science as allegorical figures on the heaven make coppola and they are reconciled with one another. all figures on the arched roof have both allegorical and sacred meaning the heavenly virtues of love and hope are depicted as symbolic female figures faith is shown as masculine and posing victoriously. the angels fill this heaven and serve as an ordinance they seem as though they're about to applaud
the harmonious order they're happy dancing. the painting above the imperial stack ace tries to illustrate to the viewer the reconciliation between the sacred and the scientific worlds angels have no significant role anymore in this. that's the end of this history of angels more than one and a half thousand years of a dominant religious interpretation of the world with a single centavo god gave way to an age of absolutism succeeded by the age of reason and the era of industrialization. the angels as messengers of an inscrutable god lost their significance but his advocates for and counsel as
to humanity they are. and eternal reminder of humans jani not to be alone her band as a perpetual changing motif of alt they are a central aspect of western religious culture. whether red stripes are the most exact. this brand of knitwear has got to be colorful. missoni. i realize that many people need they need to have courage colors that once they've wear it they feel better the story of
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