Iconography of the Halo in Art: History and Meaning

Introduction: The Halo as Universal Icon

The halo is a much older religious icon than many people realize, dating back at least as far as the ancient Egyptians (Lope, 2002). Halos are also readily apparent in many Buddhist and Hindu works of art, and the symbol has been a staple of Christian iconography since the religion itself began (Lope, 2002). This widespread and remarkably disparate yet similar use is strong evidence that the halo — also known as a nimbus or aureole — is one of the most ancient and universal objects of iconography in the world. A halo can be nothing more than a circle around an object or person, often placed around the head, but the simplicity of the symbol contains its profundity.

Historical Origins and Religious Significance

Halos are typically used as symbols of sanctity, enlightenment, and even divinity (Lope, 2002). The symbol was very likely derived from the sun — a glowing circle or disc — and also symbolized "power, majesty, and prominence," especially in the pre-Christian era (Lope, 2002). The halo is a prominent part of the depiction of several Egyptian gods, and cults that worshipped a bull figure similar to one of the incarnations of the sun god Ra — who wears a halo between his horns — were known to exist as far back as 3000 BCE (Lope, 2002).

Romans used halos in their depictions of certain heroes and statesmen as a way to glorify them. This practice continued with other important personages until Pope Urban III banned the use of halos in images of anyone who had not been beatified. Before that prohibition, many intellectuals were also depicted with halos, denoting either divine inspiration or the brilliance of their minds — or both.

The Halo in Christian Iconography

In Christian art, which is how the iconography of the halo is most recognized in the Western world today, the halo has come to symbolize the light of God and carries a definitive association with divinity. This important religious identity has led to some controversial modern uses of the symbol.

Gauguin's Self Portrait with Halo: Imagery and Intent

One such use — not so controversial now, but a daring deployment of the icon in its time — is found in Gauguin's Self Portrait with Halo. In this post-impressionist oil on wood painting from 1889, many different religious icons collide with a large and somewhat surreal rendering of the artist's own head. It is difficult to discern an overarching theme in the piece. Though there are several phallic representations, and the sexual imagery of the hanging apples — bringing to mind the Garden of Eden and Original Sin — set against the red background definitely adds a tone of eroticism to the painting, neither the self-portrait nor the halo seem at all engaged with the other elements. Overall, a confusion of both imagery and intent reigns.

Like the other images in the painting, the halo's direct purpose and meaning are difficult to discern. Given the apparent disinterest conveyed by the artist's representation of himself in relation to the temptations of the Garden, the halo could be meant to symbolize some sort of religious piety — or at least purity — that the artist sees in himself. Given some other details of the painting's construction, however, and specifically of the halo itself, this interpretation could be viewed in an ironic light.

Conclusion: Visual Balance and Ambiguity

Despite all of the confusion in the painting, there is a certain vertical balance between the two halves. This balance is more disrupted than overriding, however, and the visual movements in the painting seem to go in all directions — the figure moving down and to the left, the flowers rising straight up the middle, and even the apples appearing as though they might fall straight down. The painting ultimately resists any single coherent reading, and the halo — diminished, nearly transparent, and overwhelmed by competing imagery — embodies that irresolution perfectly.