Triptychs

Triptychs comes from the Greek word triptykhos, meaning three-layered. They utilize three panels to tell a narrative, create a sequence, or highlight different elements of similar topics. Triptychs are closely associated with Christianity and Catholicism and originate from altar spaces in the church. In early medieval times, triptychs would portray biblical stories and aid patrons in prayer. Modern artists have taken the principle of the three panel spread and used it in a variety of ways. From size to content, triptychs have become a medium to aid in the storytelling of an artist’s work. Masami Teraoka, a Hawaii based artist, uses the religious connection of the triptych as a stage to comment on issues of abuse in the church, war, imperialism, sexuality, and patriarchy. His work can be found in the Main Gallery of the Schneider Museum of Art as part of our winter exhibition What’s at Stake. Learn more about triptychs and their contemporary presence with the link below, and see Teraoka’s work while it’s still on view. 

https://www.riseart.com/guide/2414/what-is-a-triptych

Reliquaries

Also emerging from Christian communities in medieval Europe, reliquaries are mementos of saints and martyrs. They came into popularity at a time when martyrs were killed in ways that involved dismemberment. The belief was that holiness was still present in the remains, so keeping a bone on an altar was a way to connect with the departed soul and God. As time went on, items that were touched by holy figures were also kept, such as cloth from veils, shoes, and coins. The containers that held these objects ranged in size and decoration. Some displayed the actual artifacts, while others kept them concealed. Artist Al Farrow plays with the idea of visibility and reliquaries with his sculptures. Bones can be found in his work, both front and center and hidden within the piece. See his work in the Main and Heiter Galleries of the Schneider Museum of Art, and see more information about reliquaries with the link below.

https://daily.jstor.org/whats-in-the-box-the-art-of-reliquaries/

The Law of War Manual

The Law of War Manual, sometimes referred to as the International Human Rights Law, is a part of international law that dictates the boundaries of war. Regulations on warfare have existed as early as the Babylonian empire and are present in religious texts such as the Bible and the Qur’an. The Law of War Manual stands alongside treaties like the Geneva Convention and the United Nations Charter as a legal document outlining what is acceptable conduct in armed conflict. It prioritizes the protection of citizens, aid workers, and cultural property. Because the Laws of War Manual is based on consensus, there have been many contested definitions, and the document is always changing. Artist Zeina Barakeh features the most contested articles in her Holy Land series, which is currently on view at the Schneider Museum of Art. Learn about the base goals of the Law of War Manual with the link below, and find Barakeh’s work in the Heiter and Treehaven Galleries today.

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