(soft jazzy music)
- [Female 1] We're in the manuscript and drawing study room
at the Getty Center.
- [Female 2] What we're looking at
is an Ethiopian Gospel Book
from the early 16th century.
And a gospel book is a compilation
of the four books of the gospel,
written by Matthew, Mark, Luke and John
- [Female 1] We're going to start with a special page,
an image of the Virgin and Child Enthroned.
- [Female 2] It's in full page illumination,
so it has a sense of importance.
- [Female 1] It's interesting to consider this book,
because when we think about Christian manuscript traditions
we too often just think about Europe,
and not about this amazing tradition in Ethiopia.
- [Female 2] And Ethiopia has
a very long tradition of Christianity.
- [Female 1] The context for this manuscript
is the Solomonic dynasty.
And this time we have an emperor, Zara Yakub,
who is especially interested in the Virgin Mary,
both personally, but also interested
in promoting her during liturgy,
and there was a book about the miracles of the Virgin Mary
that was important during this time.
- [Female 2] And that was in the mid 15th century,
and this manuscript is from the very early 16th century,
so it demonstrates how that tradition
impacted Ethiopian manuscripts over a period of time.
What's interesting about this page
is that there's a fabric piece over the Virgin and Child,
so at first you don't see the Virgin and Child.
- [Female 1] We can imagine a priest,
perhaps during the liturgy,
moving through this book and then revealing the Virgin Mary.
- [Female 2] This particular manuscript
we don't know exactly where it came from,
but there are about seven manuscripts in this style
that we know are from the Gunda Gunde Monastery.
- [Female 1] So what I'm noticing are very rounded forms
from the Virgin Mary's face to even her forearm
looks like a large oval.
These elongated almond shaped eyes, this rounded throne,
and this flattening of the forms
with a lot of decorative patterning.
- [Female 2] This two dimensional effect is given
by the flat application of color.
So in some other manuscripts
you might see some were shading, to give a sense of volume,
but here the pigments applied
to have a very striking design and geometric effect.
- [Female 1] And it's the textiles
that lend her a sense of royalty,
this image of her as the queen of heaven.
- [Female 2] And the designs on the textiles
often evoke patterns that are found on textiles
that were imported into Ethiopia.
- [Female 1] And the Virgin is situated
within this architectural space.
And then on either side, we see angels bearing swords.
- [Female 2] The two figures
are the archangels Michael and Gabriel,
and they're holding swords
because they're serving as protectors.
- [Female 1] Some art historians have seen
these angels bearing swords
as reflecting the practices
in the court of the emperor himself,
that there would've been armed guards on either side.
And so a parallel between the earthly court of the emperor
and the heavenly court of Mary and the Christ child.
And this is such an interesting moment
in the history of Ethiopia,
because the emperors of the 15th century
were sending out diplomatic missions to parts of Europe,
to what is today Spain, to what is today Italy,
looking to visit special religious sites,
but also bring back craftsmen
to beautify Ethiopian churches.
What makes this manuscript so unique
is the presence of Mary here,
right at the beginning of the manuscript,
and we know that's partly due to Zara Yakub,
but there's a wider context
of the monastery that likely this was from,
which was Stephanite,
that is a reform order that criticized
the extent of the emperor's veneration of the Virgin Mary,
and yet here she is at the very front of this manuscript.
- [Female 2] Even though the Stephanites
criticized Zara Yakub,
the tradition of putting the Virgin Mary
in the front of these
still remains after his rule.
- [Female 1] So there are other marvelous things
about this book.
In addition to the veiled image of the Virgin and Child,
we have canon tables that help the reader
to follow the story of the life of Christ
through the various books of the gospels.
And I'm really fascinated by the geometric patterning,
but especially the interlacing
at the top of the canon tables.
- [Female 2] The interlace that's used,
both on top of the canon table pages,
also on the facing pages of the evangelist portraits
are something that is very Ethiopian,
but is also used in other traditions as well of.
- [Female 1] So let's look at one of the author pages.
- [Female 2] Here, we're looking at John,
and at the top of the page,
we have an inscription written in Ge'ez,
the official liturgical language
of the Ethiopian Orthodox church.
This portrait of John is in a long line of author portraits
that appear in manuscripts across Europe
and into Ethiopia and through Byzantium as well.
And it features the evangelist writing their gospel.
So here we have John seated,
he has all of this writing implements,
stylists, probably a read pen in his hand,
and he has his inkwell, and perhaps his pigments.
- [Female 1] He has this large round golden halo
that is so large it interrupts the frame above him.
His body is composed of these very broad rounded forms
that almost look like his body is encased in the halo.
- [Female 2] And it also looks like he's been enveloped
in those luxurious textiles.
Another place where these textiles show up
are paste downs that are in the front and back covers
of these manuscripts.
And this has one of these paste downs.
We're not exactly sure when this textile dates from,
but it does show this tradition
of using foreign imported textiles
to decorate these books.
Often these imported textiles were worn
by the elite in Ethiopia to show their wealth.
And so having a little swatch
of this fabric in these gospel books
endows this book with that same luxury.
(soft jazzy music)