Comparing Two Romanesque’s Capitals

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Romanesque art combines tastes of classical sources, which are derived from Roman, Caroligian, and Ottonian, with stylized and decorative objects, which are influenced from byzantine and Islamic art. Although both Suicide of Judas and Flight into Egypt are narrative capitals and sculpted by one sculptor in the same period, Suicide of Judas is more comprehensible in terms of decoration, facial expression, and the positioning of figures. Firstly, the decoration used in Suicide of Judas is more straightforward in contrast to the Flight into Egypt. The sculpture of Flight into Egypt illustrates the holy family escaping to Egypt under the “edict of King Herod.” This scene contains Romanesque’s sophisticated and stylized features. The repetitive lines and circular forms, such as “joseph’s hat, halos and donkey’s trapping,” are inscribed to signify the drapes and decorations. However, these features make it hard for viewers to understand the concept due to the recurring details and overlapped figures. Moreover, it is uncertain whether the figures are decorations or symbols. For example, the foliage, by Christianity, was represented “the idea of paradise” and “the New Life” in Romanesque times. Likewise, it is assumed that the foliage at the background of the scene symbolizes the divinity of God, which leads the holy family under the God’s protection. On the other hand, Suicide of Judas is very simple and less decorative compare to the Flight into Egypt. Even though the “whole scene is surrounded by stylized leaf and flower motifs,” the meaning of its content is very clear. In the Suicide of Judas, the tree with foliage decoration, which is hanging Judas, is “obviously functional.” Viewers are able to see the purpose of figures rather than having them interfere with the meaning. Unlike the overlapping figures and sophisticated details in Flight into Egypt, the
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