Cultural Interpretation of Art - Essay Example

Running Head: CULTURAL INTERPRETATION OF ART CULTURAL INTERPRETATION OF ART By State Date Cultural Interpretation of Art Artefacts or artworks manifest cultural encounters in various ways over time. The journey of the art of Benin through time since their first encounter with Europeans into the present day. The concept of cultural encounter is manifested in the journey of Benin art through the identification of the possible meaning of the content, products, subjects, themes, and objects illustrated. For instance, the Benin plaque contributed to modern researchers’ insights of characteristics of the original encounter between Europeans and Africans during the 1400s and 1500s (Lifshitz, 2009, p. 85). In addition, art objects add to the modern insight of overall cross-cultural encounters. The following paper discusses and analyses the ways pieces of art and objects manifest cultural encounters by focusing on the journey of Benin art through time since the Europeans’ first encounter. The Benin plaque depicts a middle figure of a warrior bearing coral-bead ornaments on his neck, head, and ankles. These decorations serve as protective gear highlighted by the warrior’s leopard-tooth necklace around his neck and hips and an adorned shield and spear (Lifshitz, 2009, p. 85). Europeans viewed these ceremonial objects as a revelation of the warrior’s prominence within the empire of Benin. Two African pages a company the warrior to illustrate the different scale of prominence and importance between the warrior and others. The artwork uses an atmospheric point of view to depict that the other two pages are subordinates of the warrior. A horn is blown to proclaim the entrance of royalty and the Manila possibly bestows the economic influence of the warrior (Delafosse, 2012, p. 112). Benin art illustrated the Portuguese as semi-figures with rendered, curved noses, and wearing much less decorated uniforms (Lifshitz, 2009, p. 85). The way this art object adds to today’s insight of cross-cultural encounters by being a field that needs an interdisciplinary strategy that fosters the analysis of proof from different perspectives. The Europeans also hold Manilas but appear to be subordinates in contrast to the warrior since they are juxtaposed. The Benin artists illustrated the Portuguese as figures with no other role except giving currency. It is uncertain whether the artist intended to portray the Portuguese as real subjects of the scene depicted in this art object. The plaque has a scene that places the Portuguese at the rear most part of the background (Lifshitz, 2009, p. 85). The artist wanted to show the Portuguese’s presence as referential and not materialistic as a means of accounting for the kind of trade that was going on with the warrior. What is certain is the meaningfulness of the Portuguese merchants to Benin since it is established merely by being portrayed on the bas-reliefs meant to be exhibited at the Royal Palace. There is a repetitive floral theme backdrop interpreted by today’s viewers and artists as a symbol of the power of the Oba over water (Delafosse, 2012, p. 112). This interpretation is proof of the benefits of the cross-cultural encounter between Benin and Portuguese traders. The original context in which art is experienced moulds the way viewers understand it by representing the artist’s ideas as a core feature. A core feature of an artwork gives form to the ideas used in the creation process by the artist. Regardless of the original sources, artists always practice personal control over his or her creation and pitches it as a form of knowledge. Images and concepts presented in artworks have the ability to not just alter artist’s perception of reality, the power of viewers understand it (Brebbia et al., 2011, p. 77). In effect, one can see art practice as a form of intelligent and creative curiosity. Viewers can also see art practice as a place where one performs a research thorough enough to produce trustworthy understandings that are appropriately based and culturally applicable. The understanding viewers get from art practice transforms in time with changes in preferences, approaches, and perceptions. To value the way artworks serve as sources of information, it is an advantage in shortly analysing actual art practices or works. The Benin plaque portrayed the Portuguese as merchants, which early researchers integrated after shortly discovering it. Today, extensive research about the Benin Kingdom shows the layered meanings of the portrayal of the Portuguese in the Benin plaque. These misleadingly simple imageries convey a complicated implication over time (Cycleback, 2014, p. 87). The depiction of the Portuguese traders in the Benin plaque is perceived today as their inferiority or subordination in contrast to the warrior. Early researchers did not see this element of the artwork since the attitudes and preferences were centred on the Europeans’ roles in this cultural encounter. The meaning of artistic objects can undergo translation as they shift from one context to another by viewing them as elusive and abstract ideas. Understanding the meaning of artistic objects is a multi-layered discipline that needs the insight and appreciation of the methodology essential to generating the work of art itself. In addition, an insight of the contextual conditions that envelop the creation of an artwork shape its meaning. The political past of the Benin Kingdom is essential to decrypt the numerous meanings of the masterpieces and collections made by the Edo community between the 1200s and the 1800s (Delafosse, 2012, p. 112). The Edo community made art objects of two kinds: trade and decoration. Trading art objects included ivory figurines, spoons, and salt vaults. The Edo rarely saw these objects as ornamental handcrafts. Art objects made for trading had historical and artistic meaning that both the Edo and Europeans acknowledged. The historical meaning was the proof of the commercial side of the encounter between both communities. The artistic meaning was the exhibition of the art objects as aesthetic concepts and an unfamiliar level of artisanship (Lifshitz, 2009, p. 85). In conclusion, changes in societal attitudes and perceptions result in a reassessment of the cultural encounter experience and by necessity to a reassessment, a rereading, or a redefinition of art and culture. An inquisitive attitude that is socially and culturally oriented willingly maps onto the techniques of tenacity and research mechanisms that are both receptive and investigative (Cycleback, 2014, p. 87). However, the most vital aspect of a cultural encounter is the necessity to be capable of making artworks out of critical alternatives that one can evaluate and tackle more explicitly. In effect, the formation of new opportunities to experience beyond what is common knowledge has the potential to result in the formation of new information. References Brebbia, CA, Greated, C, and Collins, MW 2011, Colour in Art, Design & Nature, New York, NY: WIT Press. Cycleback, D 2014, Art Perception, Los Angeles, CA: Lulu.com. Delafosse, M 2012, African Art, Los Angeles, CA: Parkstone International. Lifshitz, F 2009, An African Journey Through Its Art, New York, NY: AuthorHouse. Read More