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  3. In the art of the Middle Ages, we never encounter the personality of the artist as an individual; rather it is diffused through

In the art of the Middle Ages, we never encounter the personality of the artist as an individual; rather it is diffused through

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问题    In the art of the Middle Ages, we never encounter the personality of the artist as an individual; rather it is diffused through the artistic genius of centuries embodied in the rules of religious art. Art of the Middle Ages is first a sacred script, the symbols and meanings of which were well settled. The circular halo placed vertically behind the head signifies sainthood, while the halo impressed with a cross signifies divinity. By bare feet, we recognize God, the angels, Jesus Christ and the apostles, but for an artist to have depicted the Virgin Mary with bare feet would have been tantamount to heresy. Several concentric, wavy lines represent the sky, while parallel lines water or the sea. A tree, which is to say a single stalk with two or three stylized leaves, informs us that the scene is laid on earth. A tower with a window indicates a village, and, should an angel be watching from depicted with curly hair, a short beard, and a tonsure, while Saint Paul has always a bald head and a long beard.
   A second characteristic of this iconography is obedience to a sacred mathematics. "The Divine Wisdom," wrote Saint Augustine, "reveals itself everywhere in numbers", a doctrine attributable to the neo—Platonists who revived the genius of Pythagoras. Twelve is the master number of the Church and is the product of three, the number of the Trinity, and four, the number of material elements.  The number seven, the most mysterious of all numbers, is the sum of four and three. There are the seven ages of man, seven virtues, seven planets. In the final analysis, the seven-tone scale of Gregorian music is the sensible embodiment of the order of the universe. Numbers require also symmetry. At Charters, a stained glass window shows the four prophets, Isaac, Ezekiel, Daniel, and Jeremiah, carrying on their shoulders the four evangelists, Matthew, Mark, Luke and John.
   A third characteristic of art is to be a symbolic language, showing us one thing and inviting us to see another. In this respect, the artist was called upon to imitate God, who had hidden a profound meaning behind the literal and wished nature itself to be a moral lesson to man. Thus, every painting is an allegory. In a scene of the final judgment, we can see the foolish virgins at the left hand of Jesus and the wise at his right, and we understand that this symbolizes those who are lost and those who are saved. Even seemingly insignificant details carry hidden meaning. The lion in a stained glass window is the figure of the Resurrection.
   These, then, are the defining characteristics of art of the Middle Ages, a system within which even the most mediocre talent was elevated by the genius of the centuries. The artists of the early Renaissance broke with traditional at their own peril.  When they are not outstanding, they are scarcely able to avoid insignificance and banality in their religious works, and, even when they are great, they are no more than the equals of the old masters who passively followed the sacred rules.
The example of four prophets with four evangelists in a stained glass window is used to show that______.
选项 A、prophets always coexist with evangelists
B、four is the lucky number for artists of the Middle Ages
C、numbers in the art of the Middle Ages require symmetry
D、prophets should carry evangelists on their shoulders
答案C
解析
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