In order to view the Ebstorf Mappa Mundi as a likeness of Christ, one must consider the ways in which his body is visually represented and functions within the context of surrounding entities, and how the map was perceived based on these constituents. The representation of Christ’s body is visualized by the dismemberment of the body and placing each part at the cardinal points on the map. The orientation of the body, like most Mappa Mundi, situates the head to the east, right hand to the south, left to the north, and feet to the west. Together, these parts of the body reside within the boundary between the interior and exterior of the map, a space known as orbis terrarm. The location of each body part holds special significance, which is visualized
…show more content…
The notion of a likeness can be further elaborated by focusing on the head of Christ and the materiality of the map. The image of Christ is presented onto a cloth, which references the cloth relic of St. Peter’s in Rome, Veil of Veronica. The iconography of the Veil of Veronica also referred to as “the true image”, was created, according to theological narratives, when Saint Veronica wiped the tears and blood off of Christ and his image or likeness appeared on the cloth. This artifact has been represented repeatedly throughout history as a denotation to the original textual description in the biblical scripture Luke 8:43-48. This particular copy of the icon within the context of the Ebstorf map informs the viewer of His presence within the secular, historical, and geographical realm of the Earth. The cloth operates as a mode of preservation of the existence and likeness of Christ that which the viewers can discern upon. Furthermore, the vera icon serves as a signifier to the Roman church or universal church. Christ’s likeness “imprinted” onto the cloth is further visualized by his imprint onto the map itself. The likeness of His body as a whole is printed onto parchment that bears the trace of his physical body, similar to the Veil of …show more content…
The exterior of the movable sculpture presents Virgin Mary holding her son, Jesus. The piece opens in the center of her body to reveal six painted scenes of the Christian Trinity on the sides. In the center of the interior is a sculpture of God the Father sitting with Christ at his knees. Metaphorically, the exterior of the Virgin breastfeeding her son represents the nourishment as well as the availability of the divine and the Church. The interior of the sculpture, with God at the center, directly engages the viewer with Christ on his knees, most forward and most available to the viewer. The placement of Christ in both situations, in Virgin Mary’s arms as a child then on the knees of his Father, denotes the redemptive gift of his body. Opening Virgin visually, symbolically, and mechanically serves as an access point to Christ for the viewer. The Virgin serves as a host that provides the materiality of the incarnation and the imprint of the Father and Christ. Similar to the vera icon, the imprint of God and Christ is placed on Virgin Mary’s body that which Christ’s likeness and beliefs can be absorbed through. Virgin Mary’s body, therefore, serves in a secondary position in terms of hierarchal representation and
The notion of a likeness can be further elaborated by focusing on the head of Christ and the materiality of the map. The image of Christ is presented onto a cloth, which references the cloth relic of St. Peter’s in Rome, Veil of Veronica. The iconography of the Veil of Veronica also referred to as “the true image”, was created, according to theological narratives, when Saint Veronica wiped the tears and blood off of Christ and his image or likeness appeared on the cloth. This artifact has been represented repeatedly throughout history as a denotation to the original textual description in the biblical scripture Luke 8:43-48. This particular copy of the icon within the context of the Ebstorf map informs the viewer of His presence within the secular, historical, and geographical realm of the Earth. The cloth operates as a mode of preservation of the existence and likeness of Christ that which the viewers can discern upon. Furthermore, the vera icon serves as a signifier to the Roman church or universal church. Christ’s likeness “imprinted” onto the cloth is further visualized by his imprint onto the map itself. The likeness of His body as a whole is printed onto parchment that bears the trace of his physical body, similar to the Veil of …show more content…
The exterior of the movable sculpture presents Virgin Mary holding her son, Jesus. The piece opens in the center of her body to reveal six painted scenes of the Christian Trinity on the sides. In the center of the interior is a sculpture of God the Father sitting with Christ at his knees. Metaphorically, the exterior of the Virgin breastfeeding her son represents the nourishment as well as the availability of the divine and the Church. The interior of the sculpture, with God at the center, directly engages the viewer with Christ on his knees, most forward and most available to the viewer. The placement of Christ in both situations, in Virgin Mary’s arms as a child then on the knees of his Father, denotes the redemptive gift of his body. Opening Virgin visually, symbolically, and mechanically serves as an access point to Christ for the viewer. The Virgin serves as a host that provides the materiality of the incarnation and the imprint of the Father and Christ. Similar to the vera icon, the imprint of God and Christ is placed on Virgin Mary’s body that which Christ’s likeness and beliefs can be absorbed through. Virgin Mary’s body, therefore, serves in a secondary position in terms of hierarchal representation and