The late 15th century marked a time
of economic growth for the Low Countries, specifically the Netherlands. The
economic prosperity of the Netherlands allowed Dutch artists to expand their
opportunities with the new resources available. Dutch art contributed to and
was influenced by the Northern Renaissance art movement. The Medieval art
movement included the aspect of mythical creatures. During the Gothic era, the
art style took use of mythical creatures as symbolism.
Tapestries were considered to be art of high
society in all of Europe during the 15th century and were often
found in castles or mansions of wealthy dukes and nobles. Some of the most
valuable tapestries came from the southern Netherlands. Many of these
tapestries use legendary creatures to show that the artwork is illustrating an
analogy rather than a specific event. Many of the plants, animals, and human
figures reference the scriptures. The unicorn is symbolic of purity and virtue
along representing Christ himself.
The Unicorn Tapestries are
woven in the southern Netherlands during 1495 and 1505 by an unknown artist.
This collection consists of seven tapestries that are influenced by Dutch
society during the Renaissance. This exhibition will show how the tapestries
are a visual parable of the sufferings and resurrection of Jesus Christ through
the use of Medieval Narrative Christian Symbolism.
Gift of John D. Rockefeller Jr., The Hunters Enter the Woods
(from the Unicorn Tapestries),1495–1505, (368.3 x 315cm), Wool warp with wool,
silk, silver, and gilt wefts, The Met, 37.80.1.
The Hunters Enter the Woods begins the journey of
the wealthy hunters in search of the mythological unicorn. The hunters
show prosperity through the vibrant polychrome woven into their garments. Their
puzzled expressions suggest that they are not only in search for the unicorn
but also the answer to a deeper question. The greyhounds symbolize loyalty as
they stay by their master’s side and obey their command to follow the unicorn’s
trail. In the background, there is planted many cherry trees which in the Dutch
culture of the 1500s is a suggestion of paradise, eternal life, and the Virgin
Mary.
Gift of John D. Rockefeller Jr.,1495–1505, The Unicorn is Found (from the
Unicorn Tapestries), (368.3 x
378.5cm), Wool warp with wool, silk, silver, and gilt wefts, The Met, 37.80.2.
The Unicorn is Found is the second tapestry in the story and the first tapestry to illustrate the unicorn in the Unicorn Tapestries. The unicorn is shown purifying the stream so that the other animals can drink the water. The unicorn is symbolic of Jesus and this scene can be explained in the Bible when Jesus met a Sumerian woman at the well and told her a similar parable saying: “Everyone who drinks this water will be thirsty again. But whoever drinks the water I give him will never thirst. Indeed, the water I give him will become in him a fount of water springing up to eternal life.” (John 4:14).
Gift of John D. Rockefeller Jr., The Unicorn is Attacked
(from the Unicorn Tapestries),1495–1505, (368.3 x 426.7cm), Wool warp with
wool, silk, silver, and gilt wefts, The Met, 37.80.3
The
Unicorn is Attacked is the third tapestry in the series and it
depicts the change from the peace one would find in heaven, to the corrupt
violence found on earth. The hunters now appear to be cruel much like those who
worshiped Christ and later crucified Him. In front of the stream there is a
pomegranate tree which is a symbol in Dutch culture for fertility due to its
many seeds. The fruit is also an analogy of Christ because in the same way that
the red juice sprays out of a pomegranate when cut, Christ’s red blood and
water gushed out when he was speared on the cross.
Gift of John D. Rockefeller Jr., The Unicorn Defends Itself
(from the Unicorn Tapestries), 1495–1505, (368.3 x 401.3cm), Wool warp with
wool, silk, silver, and gilt wefts, The Met, 37.80.4.
The
Unicorn Defends Itself is the fourth art piece and shows a violent
side of the Unicorn. The violence of the unicorn can be interpreted as the
jealousy of God. The hunter blowing the horn personifies Gabriel the messenger
from heaven. He may be present to tell the hunters that the unicorn is Christ
and it would have to be killed for the Annunciation and Incarnation to take
place which is symbolized in the submission of the virgin maid depicted in the
next tapestry.
Two fragments from the fifth tapestry, The
Unicorn Is Captured by the Maiden, remain and what is seen is a virgin maid
calmly beckoning to a hunter that the unicorn may now be
taken.
They are in a closed garden called the bortus conclus which in the
Middle Ages was a symbol for chastity.
Gift of John D. Rockefeller Jr., The Unicorn is Killed and Brought to the Castle (from the Unicorn Tapestries),
1495–1505, (368.3 x 388.6cm), Wool warp with wool, silk, silver, and gilt
wefts, The Met, 37.80.5.
The
Unicorn is Killed and Brought to the Castle is the sixth tapestry and
visibly shows the contrast between the violence of the unicorn being killed and
the sorrow the citizens express after they realize the religious significance
the unicorn has. The blackberry bush wrapped around the hazelnut tree is a
reminder of Mary; the bush Moses found in flames in the desert was thought to
be a blackberry bush. The Holy Spirit caused the bush to in flames just as he illuminates
the mother of Christ.
Gift of John D. Rockefeller Jr., The Unicorn in Captivity
(from the Unicorn Tapestries), 1495–1505, (368 x 251.5 cm), Wool warp with
wool, silk, silver, and gilt wefts, The Met, 37.80.6.
The
Unicorn in Captivity is the final tapestry in the collection and
illustrated a peaceful, living unicorn. Just as Christ was crucified on the
cross and came back to life, the unicorn was also killed and lives once again. The
unicorn is surrounded with fruitful plants which once again signifies the
paradise after death. Due to its nail-shaped cloves, the curation flowers symbolize
the nails used to hang Jesus on the tree. The Virgin Mary is represented by the
Madonna lily woven in the tapestry.
Although upon first glance the tapestries may appear
to have a secular subject derived from Dutch folklore, they reference the
scriptures many times through the use of symbolism in the plants, animal, and
human figures strategically woven into the tapestries. The main
underlying
religious symbolism throughout the seven tapestries is the life, death, and resurrection
of Christ.
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