Unfortunately, up to the present moment almost nobody has approached the art of fresco painting from the point of view of revealing its unique main point. The art of mural painting inside of temples is often seen in the wrong perspective. whichThis displays a complete lack of understanding of the problems arising tofrom the fact that historical and cultural heritage and patrimony are being lost.
The art of painting a subject of a purely sensory perception, as it was in the Middle Ages. An artist was considered to be not a creator of personal values but rather a mouthpiece for a super-personal consciousness, playing the role of an executorer of the divine will. A didactic task was imposed on art at that time. iIt had to give people an understandable and true description of religious facts, refreshing people`s memory and making their imagination work.
Gregory the Great wrote: “In churches images are used, so that illiterate people, at least, looking at the wall, could learn of the things about which they are unable to read in books.”
A special artistic atmosphere was created inside of temples so that anyone finding himself there was fascinated. Paintings in the 15-th-and 16-th centuries were not limited by dimension or time. The objects depicted on fresco paintings had zero gravity, and the figures had no volume.
The point of the development of the medieval art boiled down to the fact that the artists did not thoughtlessly imitate the themes that they had inherited from their ancestors, but always revised those topics radically, doing their best to reveal the spirituality in their works. Any person that looked at fresco images experienced deep intimate emotions.
Fresco masters have made an enormous contribution to the historical and cultural heritage. The external and internal appearance of this temple brings to light the historical process itself. The temple could be a perfect way to feel the beauty of the art of medieval frescoes.