The Art of Etruscan Civilization - Case Study Example

It looks like the idea of afterlife is present in the majority of Etruscan art form. From this viewpoint it is clear that the majority of their art form is primarily based upon the art of tombs. It was their belief that a kind of magical survival was needed for the final resting place or in the shadowy world of Hades. This funerary cult was scrutinized with every major and minor detail and it seems as if Etruscan art had nothing else to look forward to or no other world end in view. (Bonfante, 1986) The Etruscan art also relied heavily on portraits.

The portraits commemorate a dead man’s facets so as to make him credible enough to fight against the power of darkness. There is a valid reason for this creation and its continuing popularity, especially the Tuscan portrait which in turn inspired the Roman portrait. On a burial pot from Chiusi it is clearly seen that in the earlier period a trustworthy copy of a deceased face, in the form of a mask most likely made from bronze, was affixed to the vessel. Later the head was carved and placed on the pot’s lid.

This ultimately led to the creation of the statue. Similarly, the wall paintings, that covered the clammy walls of the Tuscan Hypogea (subterranean burial chambers), were seen as imperative to their religious and cultural symbols. The show funeral feasts also portray the livelihood and contentment of his earthly life, and according to their belief it would shape their life in the afterworld. This repeals the apparent incongruity of sepulchral art infused with a passionate and enthusiastic feeling of life.

To the spiritualist soul of Etruria, the life of this world is merely a test and is foreshadowed by the more significant and permanent afterlife that is waiting for them. Their culture was more about decorating tombs rather than towns, which were built using a single type of stone and hollowed out of the same material – places of abode were proposed to revolt against the blitz of time. In the necropolises at Tarquinia and Cerveteri, virtual cities of the dead were formed and the locale and very rhythm and Etruscan life were clearly exhibited in those virtual cities.

For Etruscans money, people and art became a feature of everyday life. Etruscan villa in Murlo, which was reconstructed recently, revealed big, painted terracotta panels decorating the foyer and also included a number of fresco wall-paintings. Etruscan painting and frescos often tried to influence a sense of Joie de vivre in the form of human figures looking strong and hearty and full of life, often in the form of dancing couples. Looking at Etruscan art from this perspective it seems clear that it was much more developed in capturing human emotion than the stylized Greek art.

(Bonfante, 1986) During the 7th century BC the Etruscan art gained a new level of prosperity and popularity based upon their export of metal ore. Since Greek art got a great deal of inspiration and influence from the high cultures of the Eastern Mediterranean. Greek goods made its way to Etruria together in Orientalizing style with exotic objects and reached the Phoenician cities, Egypt, Cyprus and Asia Minor. During the entire existence of Etruscan empire, it was largely inspired from Hellenic styles which had profound impact on its independent artistic development.