Experience Paper

A visit to the Cloisters Museum

The Creative Voice

Experience. Practical contact. Observation of facts. We live in a “soft” world where the greater percentage of the arts are viewed through some type of electronic device with a screen and usually muddled with banners of advertisements or endorsements. We view static images on screens where texture and brush strokes could never be appreciated. We watch videos of classic Shakespearian plays devoid of the elements and senses of a live performance. True experience cannot be had remotely. Experience MUST be experienced!
I decided to visit the Cloisters Museum and Gardens to reach outside my comfort zone and visit a place that I not only have never been to, but had also never heard of. The Cloisters is a branch of the Metropolitan Museum of Art that focuses on the art and architecture of medieval Europe. The museum is located in northern Manhattan and overlooks the Hudson River. That particular day was fairly warm with light rain. Upon entry into the museum my initial reaction was how cold and damp it was in comparison to the day. Because I had not been there before, I was initially most impressed with the structure more than the art itself. It is clear that people have gone to great lengths to recreate a structure that incorporates all of the elements of medieval times. I am by no means a historian and as a result I am usually stricken by something that appeals to me visually over its historical relevance. Once a piece has me, I like to delve into the history of that particular piece. I made sure to view and experience all of the exhibits that the museum had to offer taking note of what I found esthetically pleasing. I found myself continuously circling back to a room solely lined with these magnificent tapestries. It astonishes me that without the use of modern machines and techniques something so grand and ornate could be fabricated by hand.
The Unicorn Tapestries is a series of seven tapestries. The tapestries display a group of noblemen hunting a unicorn. The tapestries are woven in wool with metallic threads and silk. They are over 500 years old and because of the use of the metallic threads, are extremely vibrant in color. My research shows that there is much debate over these tapestries. Who made them, where they were made, and also the order in which to be hung are all questions that cannot be answered with any large degree of certainty. This is abundantly clear as I found myself in an almost empty room and was able to take into view all seven tapestries. At first glace and without knowing any of the history, it is very difficult to place the tapestries in order. I was most attracted to the piece titled “The Unicorn In Captivity”. I was initially drawn to this piece due its ornate and intricate details. The image is centrally located on the tapestry offering a sense of symmetry. Also centrally located is a tall, vertical tree suggesting structure and strength. The tapestry also exhibits elements of unity, balance and rhythm as the groupings of flowers are repeated throughout.
Initially I would have argued that this piece was the first in the series as the title is “The Unicorn In Captivity”. However, upon further research I revealed that the actual title is “The Unicorn In Captivity And No Longer Dead”. That being said, how could this possibly be the first in the series? This caused me to research further and reveal that Christians identify the unicorn as a symbol of Christ. The series of tapestries interprets the Passion of Christ. As a result, this piece resembles that the unicorn (Christ) has risen.
Throughout this course I have argued on the side of the artists intent. It has been argued by others that a dot or a splash on a page is just that and there is no intent to such artwork. I argue that there is always some level of intent when it comes to any of the arts. While these tapestries are far more intricate than just a dot on a page, without understanding the artists intent and because we cannot accurately state the place and time where these tapestries were introduced, the intent would have been grossly misinterpreted. Perhaps these pieces were made at a place and time where the depiction of Christ himself was not allowed or considered sacrilegious in some way. As an example, I overheard an interpretation of “The Unicorn In Captivity” tapestry as being symbolic in the way this person was raised. The analogy touched on the fact that this beautiful creature was trapped and not allowed to roam free and experience life. Meanwhile, its true meaning is the second coming of Christ. Was the individual’s interpretation wrong? Certainly not. It was this person’s ability to connect with the artwork. Art is like wine, if you like it, it’s good.
At the beginning of this paper I mention the noticeable temperature difference upon entering the museum. While observing the tapestries I found the temperature to be much warmer than when I initially entered. I didn’t think much of it and thought to myself that the room was probably climate controlled in an effort to protect or preserve the tapestries. While exiting the museum I had passed by a tour guide who was commenting on an unrelated tapestry. “Tapestries in medieval times where hung along the walls of the castle not only for their art but they also served as insulation to warm the interior”. There is no climate control in the tapestry room. I had experienced the secondary function of the tapestries.
Experience. Go get it!