Beheaded and mutilated medieval Virgin Mary and baby Jesus. Musée National du Moyen Âge, Paris
(An initial comment: Since I started planning this blog post on beheaded sacred images and their afterlives some weeks ago, recent events in Paris and other places in the world have brought the topic of violence, domestication and exercise of power under a religious label to a whole new and urgent level. I will not go into these events here at this point, but hope to return to them in the near future.)
I cannot think of a better topic for waking a resting blog, than resurrections and afterlives. Well, and some quite dramatic beheadings, of course - after all, I tend to end up reflecting on death every so often in this peculiar research topic of mine. As some of you might recall, It all started with a headless Jesus; my PhD journey took off when I encountered a headless Jesus in a Swedish cathedral, and couldn't make up my mind as to wether I regarded it primarily as a devotional, a historical or a cultural object. The broken state of this medieval sculpture is in no way unique in a Swedish context, but rather the normal condition. Worth noticing is that the present appearance of the medieval Catholic sculptures in Sweden is not a result of intentional mutilation or political violence, but of neglect in some church attic or shed after they came out of fashion (and, in some way, became dangerous) after the Reformation. With this, the Catholic sculptures were physically stowed away and out of sight, to be re-used as examples of a long history and proud national antiquities a century later in late 17th century. Seeing Catholic images presented like this creates an image of distance, of mysticism maybe, of historical pasts and beliefs, and of authenticity. The result, at least in Sweden, appears to be a sense of holiness and authenticity attached more strongly to these damaged images in a museum display or to a church ruin, than to sacred buildings and objects still in their original use.
Old and sacred matter the way I grew up seeing it in Sweden: broken, damaged and displayed museum objects with a narrative taking place in a time very long ago. (Gotlands Museum, Sweden)
When I recently took part in an international seminar at École du Louvre in Paris, on the musealisation of sacred buildings, I enthusiastically continued on this grim path, and learnt more about how the sacred images in France lost their heads.
Beheaded saints from the facade of Notre Dame de Paris, now in Musée National du Moyen-Âge.
Fact is, I was quite stunned by the ever-present and large number of beheaded saints and Marys that met me in various museums. In Musée National du Moyen-Âge were armies of saints ripped down from church facades, and individual sculptures with heads, hands and in some cases also their genitalia cut off. In other museums displaying religious art I met them too. Their headlessness is a result of the violent suppression of all forms of religion during the French revolution, primarily in the 1790's, when the churches were stripped of decoration and furniture, and the sacred art in many cases was mutilated or destroyed. The destruction here was violent, an act of dominance and an attempt to eradicate certain beliefs - and a jump start to musealisation of sacred objects and places.
In the turmoil during the revolution, the sacred objects that were not destroyed were brought to Bibliothèque Nationale, which besides being a library at the time also functioned as a forerunner to Musée du Louvre. Objects made of precious metals were to be melted down for more useful purposes, and only objects of a certain "historical value" were to be spared. Thus, the heritagisation process in a nutshell: a quick shift from accentuating the sacred value to promoting (and, in fact, legitimizing the existence of an object with) the historical or heritage value.
Headless saint in a church museum in Angers
So, comparing the sacred headlessnesses in my own country with those in France, I find some major differences:
1) The heads in Sweden were almost always lost because of neglect after the Reformation, or because of popular beliefs that for example the wooden head of baby Jesus could ease the pain of a woman during childbirth if put in her bed (and sometimes didn't make it back to the church, or got lost, as loose details tend to do), but not in an act of religious or political violence. The heads in France, on the other hand, were intentionally and violently cut off to suppress and domesticate religion, and remove it from society in every shape but as historical and artistic artifacts.
2) In France these beheaded images are now on display in museums, telling stories about violent acts in the history of France, about religious beliefs and practices in the past, and about the artistic skills in various periods. I saw no beheaded saints in churches, used as devotional objects - but quite a few copies from the Viollet le Duc era in the 19th century.
In Sweden however, as I have stated previously, even the beheaded images can be used for devotion and seen as sacred - perhaps even more sacred and authentic than the better preserved or recently made ones? There is something fishy about the secularized Swedes and decaying heritage... (OK, sorry. I can't keep myself from referring to this favorite scene in the film "Peter's friends", where an American actress expresses her admiration for the old English mansion and adds that she has seen something just like it in the States, "but brand new!". Look here, at 1.09...)
So, is this displaying of beheaded and mutilated sacredness, also with various agendas, something unique to Christianity? Well, you just have to take a quick look in interior decoration magazines and the fancy Buddha-heads-in-bookshelves (not seldom side by side with a Lourdes madonna) to realize that there is more to it than that.
Not only interior decorations, but also museums are filled with Buddhistic and other religious Asian art, often in fragments or damaged condition. I ask myself if the level of exoticism and aestheticism in these objects is higher, and the religious content less obvious, to a Western audience?
Damaged Buddha at Musée Guimet, Paris
Musealised Buddha in New South Wales Art Gallery, Sydney
Visiting the Jim Thompson House Museum in Bangkok where an American collector and silk factory director assembled a group of Thai houses into a Western interpretation of typical Thai style, I was fascinated by the rich collection of Buddhas - many of which headless. I asked the tour guide how Thai Buddhists regarded these statues, and was told that damaged Buddhas are connected to bad luck and are therefore not to be kept at home. Being holy, they however can not be disposed of in a careless way, but are brought (back, in a way) to the temple, where a special room serves as a final resting place for damaged and used Buddhas.
Intentionally beheaded Buddha at Jim Thompson House Museum, Bangkok
Buddhas, and more Buddhas, in Jim Thompson's house
In Jim Thompson's House Museum, the headless and damaged Buddhas seem to go well in line with the eclectic westernized assembly of Thai art objects and architecture, forming a magnificent and all new creation built on heritage and aesthetics. The presence of the damaged and beheaded Buddhas in a home might be unthinkable for a Buddhist believer, but in this home formed by a foreigner's eye, the damaged state poses no religious problem and goes well side by side with ancient pottery and other objects with patina.
Coming this far in the guided tour my curiosity on beheaded sacredness was triggered, and I asked the guide why the Buddhas were missing their heads? The answer was, in this case, neither the Swedish Lutheran neglect or the French revolutionary rage and domestication. The explanation was more one of greed and materiality: in connection to conflicts treasure hunters were after precious metals and valuable objects, and they had heard that some Buddha sculptures were made of gold and painted over. To check the presumed material preciousness of the Buddhas, they cut the heads off, and if (as in the case here) the material was a less precious one, the beheaded figure was left behind to meet another destiny: as museum or collector's object.
Buddha head on display, NSW Art Gallery, Sydney. Not a Buddhist display, but okay in a museum.
Travel Buddhas in the museum shop at Musée Guimet. Pick your favorite color, please!
Looking at these three examples from three different historical, cultural and religious contexts, we find three different motives behind the missing heads of sacred sculptures - religiously motivated neglect, political violence, and plundering - and three different kinds of afterlife: museum objects, a final rest in the temple, or resurrection as sacred object in mutilated state. While mutilation or damages in some cultures make the images impossible for sacred use, it rather seems to reinforce the sacred and authentic qualities in countries like my own. Heritage can, obviously, act as a new religion, creating meaning and traditions in a time where traditional religious institutions are regarded with suspicion and by some even claimed to have played out their role. From holy headlessness to holy heritage, perhaps..?
At the core of all this heritage, death and afterlife dwells the complex question of Eternity - a time frame set for many collections in another time, but which for many reasons seems quite problematic today. And to be honest (quoting one of my secular house gods, Freddie Mercury): Who wants to live forever?
Sometimes, I can't blame the escaped gargoyle in the facade of Notre Dame de Paris: it hit the road, leaving nothing but its paws behind. A pawless afterlife, and an escape from material sacredness...
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