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罗马式美术

主条目：罗马式美术

Saint-Julien-de-Jonzy的教堂的弧形顶饰 十二世纪中叶. 上为《威严基督像》, 下为《最后的晚餐》

罗马式美术，也译罗曼式美术，发展于公元1000年到公元十二世纪哥特艺术兴起前这段时间，这段时期西欧的修道主义也在兴起。这种风格最初源于法国，但是最终扩散到了基督教的西班牙、英格兰、法兰德斯、德国、意大利和其他地区，并最终成为第一个可以在全欧洲范围找到的中世纪艺术风格，但仍具地区差异。 这种风格的到来碰巧赶上了建造更多更大的教堂，尤其是主教座堂的风潮，虽然很多这些教堂都在后世被重建，但是大部分都在罗马式时期达到了今天的规模。罗曼式建筑的主要特点是由厚实的墙壁，恢弘的结构构成的明晰而生动的形式，还有拱形的穹顶、半圆的窗子，和各式的拱券。

Figurative sculpture, originally colourfully painted, plays an integral and important part in these buildings, in the 柱头of columns, as well as around impressive 入口, usually centred on a 弧形顶饰 above the main doors, as at 韦兹莱隐修院 and 奥顿圣拉扎尔主教堂. Reliefs are much more common than free-standing statues in stone, but Romanesque relief became much higher, with some elements fully detached from the wall behind. Large carvings also became important, especially painted wooden 十架苦像 like the Gero Cross from the very start of the period, and figures of the 童贞玛利亚 like the埃森大教堂的黄金圣母. Royalty and the higher clergy began to commission life-size effigies for tomb monuments. Some churches had massive pairs of 青铜 doors decorated with narrative relief panels, like the 格涅兹诺大门 or those at 希尔德斯海姆, "the first decorated bronze doors cast in one piece in the West since Roman times", and arguably the finest before the Renaissance. Most churches were extensively frescoed; a typical scheme had 庄严基督 at the east (altar) end, a 最后的审判 at the west end over the doors, and scenes from the 基督生平facing typologically matching 旧约圣经 scenes on the 中殿 walls. The "greatest surviving monument of Romanesque wall painting", much reduced from what was originally there, is in 普瓦捷附近的圣塞文-梭尔-加尔坦佩教堂 , where the rounded 筒形拱顶 of the 中殿, the 地下墓室, 门廊 and other areas retain most of their paintings. An equivalent cycle in Sant'Angelo in Formis at 卡普阿 in southern Italy by Italian painters trained by Greeks illustrates the continuing predominance of Byzantine style in much of Italy.

French historiated initial with men slaying a monster, from a theological manuscript. 1110–1115

Romanesque sculpture and painting is often extremely vigorous and expressive, and very inventive in terms of 圖像誌—the subjects chosen and their treatment. Though many features absorbed from classical art form part of the Romanesque style, Romanesque artists rarely intended to achieve any sort of classical effect, except perhaps in 默兹河艺术. As art became seen by a wider section of the population, and because of challenges from new 异端, art became more didactic, and the local church the "穷人的圣经". At the same time grotesque beasts and monsters, and fights with or between them, were popular themes, to which religious meanings might be loosely attached, although this did not impress St |圣伯纳德, who famously denounced such distractions in monasteries:

But in the cloister, in the sight of the reading monks, what is the point of such ridiculous monstrosity, the strange kind of shapely shapelessness? Why these unsightly monkeys, why these fierce lions, why the monstrous centaurs, why semi-humans, why spotted tigers, why fighting soldiers, why trumpeting huntsmen? ... In short there is such a variety and such a diversity of strange shapes everywhere that we may prefer to read the marbles rather than the books.

He might well have known the miniature at left, which was produced at 熙笃修道院 before the young Bernard was transferred from there in 1115.

During the period typology became the dominant approach in theological literature and art to interpreting the bible, with 旧约圣经 incidents seen as pre-figurations of aspects of the life of Christ, and shown paired with their corresponding New Testament episode. Often the iconography of the New Testament scene was based on traditions and models originating in Late Antiquity, but the iconography of the Old Testament episode had to be invented in this period, for lack of precedents. New themes such as the 耶西的本 were devised, and representations of 圣父 became more acceptable. The vast majority of surviving art is religious. 默兹河艺术 was an especially refined regional style, with much superb metalwork surviving, often combined with 珐琅, and elements of classicism rare in Romanesque art, as in the 列日的圣巴托罗缪教堂的领洗地, or the 三王圣龛 at 科隆, one of a number of surviving works by 凡尔登的尼古拉, whose services were sought across north-western Europe. 花窗玻璃 became a significant art-form in the period, though little Romanesque glass survives. In illuminated manuscripts the bible became a new focus of intensive decoration, with the 圣詠经 also remaining important. The strong emphasis on the suffering of Christ and other sacred figures entered Western art in this period, a feature that strongly distinguishes it from both Byzantine and classical art for the remainder of the Middle Ages and beyond. The Gero Cross of 965-970, at the cusp of Ottonian and Romanesque art, has been called the first work to exhibit this. The end of the Romanesque period saw the start of the greatly increased emphasis on the 童贞圣母 in theology, literature and so also art that was to reach its full extent in the Gothic period.

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  默兹河艺术的代表作，图尔奈圣母大教堂中凡尔登的尼古拉所做的圣物箱，1205年。
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  一个西班牙地下墓室的彩绘天花。
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  莫扎克修道院的中殿的柱头上约拿被鲸鱼吞掉的场景。
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  《抹大拉的马利亚向使徒们宣告基督复活》, 圣奥尔本斯圣詠经，英格兰, 1120–1145年。