How Nike and the Catholic Church influence public perceptions.
Throughout history, institutions have utilized visual language in order to persuade public perceptions. Imagery, rather than words or texts, has proven to be an effective tool in shaping public opinion. Organizations from various periods and contexts have carefully constructed visual information meant to produce an affective response among viewers. The Catholic Church and Nike are two organizations that have proven to be one of the world’s most successful producers of affective imagery, reflected in the ubiquity of both the Nike Swoosh and the Crucified Jesus.
Nike’s history of crafting their successful brand holds much in common with the history and artistic depiction of Jesus Christ. Where Nike utilizes sponsorships, images and video to establish the belief that Nike products are superior, the Catholic Church, over its 2,000 year history, has utilized the image of Jesus to spread the Christian faith and legitimize the teachings of Christianity.
Crafting persuasive imagery is the core strategy of Nike’s business, and this idea is crucial in their relation to the history of Jesus’ depiction. In the fashion industry, product differentiation tends to be marginal compared to other industries. Costs and product performance tend to be similar across competitors, and this is highlighted by the fact that Nike and Adidas produce their shoes in the same factory in Indonesia. (1)
Given this lack of cost cutting options and product performance, differentiation localizes onto brand recognition. Especially in the sportswear and fashion industry, consumer perception of a product is the key element in purchase decisions, and Nike has mastered this psychological field.
The modern capitalist environment is littered with advertisements competing for our attention, and standing out in this crowded field is a constant challenge. Despite growing competition, Nike has remained supreme in athleisure sales due to their ability to manipulate societal beliefs. Through sponsorships, images, and video, Nike has convinced the public, despite the lack of significant material difference, that their products are superior. With Michael Jordan dunking in Nike shoes, and Tiger Woods swinging with Nike clubs, one feels they can channel the energy of these athletes with Nike’s products.
The “Just Do It” slogan has driven the inner athlete for many years and is reflected in this image of Serena Williams. This image does not tell us to buy their products, it reaches a deeper subliminal connection. That we all have dreams of being something else, that a more ideal version of ourselves exists somewhere in our future, and that wearing Nike shoes and shirts will materialize this transformation.
“Just Do It” illustrates that convincing imagery is a powerful tool in influencing public opinion. And it's this power of Nike’s imagery that holds key similarities to the history of Jesus’ depiction. Where Nike seeks to sell their product as superior through persuasive advertising, the Catholic Church parallels this drive legitimizing Christianity through the evolution of Jesus’ depiction.
The Sarcophagus of Junius Bassus, 359 C.E.
The Sarcophagus of Junius Bassus includes one of the earliest examples of Christ’s depiction. The Sarcophagus, dated from 359 C.E., was constructed just 46 years after the legalization of Christianity in 313 C.E. This marks a critical point in Christian history, a new religion intersecting with the dominant beliefs of Roman and Greek mythology of the 4th century.
The depiction of Jesus reflects this competitive religious environment, the figurehead of Christianity is the new celestial ruler. Under the feet of Jesus lies the now humiliated Caelus, the traditional god of the sky in Roman mythology.(2) The messaging of this sculpture is clear, the new figure of Christianity has usurped the celestial position of the former Roman god, who has now been relegated to insignificance.
The Mosaic of Santa Pudenziana, 4th century C.E.
A mosaic of Jesus located in the Basilica of Santa Pudenziana in Rome reflects many of the same characteristics as the Junius Bassus Sarcophagus. Again, Jesus sits on a throne above the apostles, solidifying his status as an imperial authority. This authority is reinforced with his gold cloak, jeweled throne and imperial gesture of his right hand implying a commanding tone. (3)
This mosaic works in tandem with the rest of the architectural structure. Located at the apse of the church, this mosaic was the focal point of ritualistic ceremonies conducted by the priest. The sacraments would be performed just below the mosaic, reinforcing the presence and ultimate authority of Jesus among the spectators.
Christ Pantocrator Style
By the 7th century, a specific depiction of Christ became popular, the Christ Pantocrator style. One example, located in Saint Catherine’s monastery in Egypt, shows a much different approach to the depiction of Jesus compared to the Sarcophagus and the mosaic in the Basilica of Santa Pudenziana.
In his book Christ to Coke : How Image Becomes Icon, Martin Kemp describes the purpose of this frontally portrayed image, “it grants the image recognizability wherever and in whatever medium it appears...There is a persistent sense, not wholly in line with standard theology, that Christ is present in his iconic image…” (Kemp) Recognizability and the true presence of Christ were the key intents of this image, and the success of this approach is seen in how powerful its effects are upon the viewer. Standing in front of this image, one can almost feel the watchful eyes of Christ following your every move.
In fact, as Kemp points out, this frontally portrayed style has been copied in later contexts such as the recruitment posters from World War I. (4)
Scientific Revolutions
The depiction of Jesus underwent significant change with the emergence of the Renaissance. With rising interest in the scientific fields of biology, geology and geometry, the Italian Renaissance masters utilized these scientific developments in their works.
This scientific approach resulted in real life portrayals of Jesus that were unique to 15th and 16th century Rome. Where many cultures depicted Christ as a heavenly deity that was separated from earthly existence, Italian Renaissance artists strove to create life- like representations of Christ that could walk among humans.
In this life-like pursuit, Masaccio utilized the use of perspective in his painting, Holy Trinity. With a vanishing point located at the base of the cross, all of the lines of the architecture meet at the eye level of the viewer. (5) This effect produces the illusion that Jesus exists in a real life space, thus generating a compelling real world existence.
The focus of creating life- like depictions of Christ is exemplified by Michelangelo's Pieta. At the age of seventeen, Michelangelo began dissecting cadavers from the Monastery of Santo Spirito hospital. (6)
This study of anatomy interested many artists in the Renaissance, including Leonardo da Vinci who spent much of his life mapping every limb and organ of the human body.
Michelangelo held the same curiosity for the human body and demonstrated his mastery of the human form with his sculpture, Pieta. Michelangelo's superior skill is shown in every detail of Christs’ body, from the muscle, bone structure and facial features are crafted with scientific precision.
The exactitude of these elements result in a real life depiction of Christ. The viewer can feel the weight of Christs’ limp body forming on Mary's lap, his drooping head and dangling right arm perfectly yielding to earth’s gravitational pull.
The works of Masaccio and Michelangelo demonstrate the drive to create depictions of Christ that could almost come to life. Through the use of perspective in painting, and anatomical precision of statuary, Jesus occupies the same earthly realm as the viewer.
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Like the Catholic Church, Nike holds the same drive to influence public perceptions through imagery laden with messages. Despite the seemingly simple approach Nike has, it requires an artistic nuance and mastery of psychology that their competitors struggle to reproduce.
Throughout the entire history of Christ’s depiction, the approaches and philosophies vary greatly, but all hold the common drive to create compelling imagery meant to legitimize Christianity. To accomplish this, Christ was depicted as a strong aristocratic leader who demanded obedience, and later, as a human who can relate to human existence.
This lead to a more personal connection with Jesus who, rather than a punitive ruler, is a fellow human who understands the struggles of humanity. It is no coincidence that the modern approach to his portrayal finds its roots in the Renaissance, where his human- like resemblance was developed by some of the most talented artists in history.
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A special thank you to Dr. Felicity Harley - McGowan who took the time to speak with me on this topic. Her expertise in early Christian art was a crucial resource in developing this article.
Also, Dr. Martin Kemp’s thorough analysis of the iconography of Jesus and Coca- Cola was a central resource in connecting the relationship between Christian art and modern advertising.
Sources
1. Parry, Richard L. “Nike and Adidas 'Have Failed to Stop Sweatshop Abuses'.” The Independent, Independent Digital News and Media, 8 Mar. 2002, www.independent.co.uk/news/world/politics/nike-and-adidas-have-failed-stop-sweatshop-abuses-9201104.html.
2. Farber, Allen "Sarcophagus of Junius Bassus," in Smarthistory, August 8, 2015, https://smarthistory.org/sarcophagus-of-junius-bassus/.
3. Farber, Allen. “Santa Pudenziana.” Khanacademy.org, Khanacademy, www.khanacademy.org/humanities/medieval-world/early-christian-art/early-christian-architecture/a/santa-pudenziana.
4. Kemp, Martin. Christ to Coke : How Image Becomes Icon, Oxford University Press, Incorporated, 2011. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/rochester/detail.action?docID=796049.
5. ItalianRenaissance.org, "Masaccio’s Holy Trinity," in ItalianRenaissance.org, July 4, 2012, http://www.italianrenaissance.org/masaccios-holy-trinity/.
6. Pearce, JMS. “The Anatomy of Michelangelo (1475-1564).” Hektoen International, https://hekint.org/2018/04/11/anatomy-michelangelo-1475-1564/.
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