There is a longstanding discussion among sacred artists regarding whether or not the Holy Trinity should be represented in art and if so what is the most appropriate way to do so.
The Iconographic
The argument against representing the Trinity usually centers around God the Father. The second person of the Trinity was incarnated as a man and the third person appears in scripture variously as wind, fire, and a dove. But the Bible does not give us a physical appearance of the first person.
But an argument in favor of depicting God the Father comes from the words of Jesus Himself. “I and the Father are one” John 10:30. And, “Philip said to him, ‘Lord, show us the Father, and we shall be satisfied.’ Jesus said to him, ‘Have I been with you so long, and yet you do not know me, Philip? He who has seen me has seen the Father’” John 14:8-9
We often hear that portrayals of God the Father are not permitted in Eastern iconography. While this is not strictly true it may be seen more as a guideline for the iconographic revival of the 20th century. Depictions of God the Father do exist in Eastern iconography although not as common as they are in the West.
Most famously, Russian iconographer Andrei Rublev created an icon of the Trinity by heavily editing the earlier iconographic pattern of “The Hospitality of Abraham.” This pattern showed not only the three visitors to the patriarch, but also Abraham himself, often killing the fatted calf, as well as Sarah, their tent, and sometimes even Abraham’s willingness to sacrifice Isaac on the mountain.
Rublev removed all the extraneous elements and focused on the three angelic visitors seated around a table. All three figures have the same features. This has been the accepted pattern of the Trinity in the iconographic form for 600 years.
German, c. 1260-1270
Berlin, Gemäldegalerie der Staatlichen Museen zu Berlin
The Gothic
But how did that depiction change in the Gothic period and what does it mean for us today as we attempt revive the form?
As the Gothic tradition grew and matured several patterns reflecting the Most Holy Trinity came into use. By the 13th century they were well established.
One form depicted a single figure with three heads. Alternatively a single head with three faces may have been portrayed. But this pattern was condemned by counter-reformation theologian Johannes Molanus, as well as popes Benedict XIV and Urban VIII. It is easy to understand the problems associated with this image. It could be seen as an affirmation of the heresy of modalism, that God is one person who has revealed Himself in three forms or modes rather than three separate persons.
But two other patterns developed in the Gothic era that are still with us today. The first is “The Throne of Mercy (or Grace)” and the second is often referred to as the “New Testament Trinity.”
The essential elements of the “Throne of Mercy” depict God the Father, usually with white hair and beard signifying wisdom, holding the crucified Christ in His hands in such a way that He seems to be presenting the crucifix to the viewer. The Holy Spirit, in the form of a dove, is shown between the two.
In some variations God the Father may be crowned, or with a triangular halo, and the world may be represented at the foot of the cross by the skull of Adam, or the mappa mundi orb, an ancient symbol of the known world.
This image contrasts the glory and power and majesty of God with His role as the Suffering Servant. It calls to mind two passages from scripture.
“For God so loved the world that he gave his only Son, that whoever believes in him should not perish but have eternal life. For God sent the Son into the world, not to condemn the world, but that the world might be saved through him.” John 3:16-17
“For we have not a high priest who is unable to sympathize with our weaknesses, but one who in every respect has been tempted as we are, yet without sin. Let us then with confidence draw near to the throne of grace, that we may receive mercy and find grace to help in time of need.” Hebrews 4:15-16.
The other pattern still with us today is the “New Testament Trinity” so-called to distinguish it from Rublev’s “Old Testament Trinity.” In this pattern God the Father is seated in Heaven on the right side of composition, Facing Him on the left side, (the right hand of the Father,) is Christ, holding His cross. Between the two of them, the Holy Spirit is represented as a dove.
Both of these patterns have withstood the test of time and present a richness of symbolism that continues to inspire artists to this day. If I were to add a suggestion it might be to take care to make the Father and the Son similar in appearance. The Father and the Son may be distinguished in several ways. The Son is typically shown with a round halo inscribed with the three arms of the cross. The Father on the other hand has traditionally been depicted with a triangular halo, referencing the Trinity. The Father may also be shown with white hair and a white beard, symbols of wisdom and a nod to the “Ancient of Days” referred to in the Book of Daniel.
As always this is meant to spark a discussion aimed at compiling guidelines for artists wishing to create new work in the Gothic tradition. Comments and suggestions are welcome.
Pax vobiscum