Төрт құрамды символдық бейне

Symbolic arrangement of four differing elements

A tetramorph is a symbolic arrangement of four differing elements, or the combination of four disparate elements in one unit. The term is derived from the Greek tetra, meaning four, and morph, shape. In Christian art, the tetramorph is the union of the symbols of the Four Evangelists, derived from the four living creatures in the Book of Ezekiel, into a single figure or, more commonly, a group of four figures. Each of the four Evangelists is associated with one of the living creatures, usually shown with wings. The most common association, but not the original or only, is: Mark the King, Lion; Luke the lowly Servant, Ox; Matthew the Angel; and John the Eagle. In Christian art and iconography, Evangelist portraits are often accompanied by tetramorphs, or the symbols alone used to represent them. Evangelist portraits that depict them in their human forms are often accompanied by their symbolic creatures, and Christ in Majesty is often shown surrounded by the four symbols. The word comes from the Greek for "four forms" or "shapes". In English usage, each symbol may be described as a tetramorph in the singular, and a group as "the tetramorphs", but usually only in contexts where all four are included. The tetramorphs were especially common in Early Medieval art, above all in illuminated Gospel books, but remain common in religious art to the present day.

Images of unions of different elements into one symbol were originally used by the Ancient Egyptians, Assyrians, and Greeks. The image of the sphinx, found in Egypt and Babylon, depicted the body of a lion and the head of a human, while the harpies of Greek mythology showed bird like human women.

The creatures of the tetramorph, as they appear in their animal forms, are predominantly shown as winged figures. The wings, an ancient symbol of divinity, represent the divinity of the Evangelists, the divine nature of Christ, and the virtues required for Christian salvation In regards to the depiction of St Mark in particular, the use of wings distinguish him from images of St Jerome, who is also associated with the image of a lion. The perfect human body of Christ was originally represented as a winged man, and was later adapted for St Matthew in order to symbolise Christ's humanity. In the context of the tetramorphs, the winged man indicates Christ's humanity and reason, as well as Matthew's account of the Incarnation of Christ. The lion of St Mark represents courage, resurrection, and royalty, coinciding with the theme of Christ as king in Mark's gospel. It is also interpreted as the Lion of Judah as a reference to Christ's royal lineage. In their earliest appearances, the Evangelists were depicted in their human forms each with a scroll or a book to represent the Gospels. By the 5th century, images of the Evangelists evolved into their respective tetramorphs. In images where the creatures surround Christ, the winged man and the eagle are often depicted at Christ's sides, with the lion and the ox positioned lower by his feet, with the man on Christ's right, taking precedence over the eagle, and the lion to the left of the ox. These positions reflect the medieval great chain of being.

The use of the tetramorph in architecture is most common in the decoration of Christian churches. On medieval churches, the symbols of the Evangelists are usually found above westerly facing portals and in the eastern apse, particularly surrounding the enthroned figure of Christ in Glory in scenes of the Last Judgment. This image of Christ in Glory often features Christ pantocrator in a mandorla surrounded by the creatures of the tetramorph is often found on the spherical ceiling inside the apse, typically as a mosaic or fresco. Older Roman churches, such as Santa Pudenziana and Santa Maria in Trastevere, mosaics often depict the four creatures in a straight line rather than in a circular formation. Medieval churches also feature sculptures of bas relief symbols of the Evangelists on western facades, externally around eastern apse windows, or as large statues atop apse walls. The Evangelists and tetramorphs were highly featured in Ottonian manuscripts as the Gospel books, pericopes, and the Apocalypse were most popular. While they imitated the Byzantine artistic style, Carolingian illuminations consciously revived the early Christian style, and was much more elaborate than Celtic or Insular art. For most illuminated manuscript portraits, the Evangelist typically occupied a full page. Though numerous examples of Late Antique portraits featured each figure in a standing position, the Evangelists were predominantly depicted in a seated position at a writing desk or with a book or scroll, both in reference to the Gospels. The symbols of the tetramorphs were most common in the Middle Ages until the Romanesque period before they fell out of favour and images of the Evangelists in their human forms became more common. However, the tetramorphs were still used and were found in artwork of the Renaissance and even in modern art. A notable 20th century example is the massive tapestry by Graham Sutherland which hangs in Coventry Cathedral.

The tetramorph of the four living creatures is depicted on the World card of many tarot decks, including the Tarot of Marseilles and the Rider Waite tarot deck. It is also depicted in some Islamic art.