Art as a Window into Culture - Essay Example

Fine Arts Lesson No. 2 Part Line: I 3)~ (I love my mouse). ‘A pictogram is a connotative symbol whose signifier is an icon whose signified has a synecdochic or metonymic relation to the signified of the pictogram as such, and which is used for conveying simple messages of information or directive illocutionary force’ (Posner, Robering and Sebeok, 3505). A pictogram may have been easier for the ancient Egyptians since they did not have a phonetic language to rely on. Also they were used to the language of pictogram. In these times, it would be quite difficult to communicate through pictograms without the use of a key. This is because meaning to symbols has to be given otherwise the other person would not be able to understand the context of the message. In the above pictogram, the reader would have the context of the English language in mind so he would not have to depend on any key. Pictograms in today’s world are used as symbols and icons. They are employed in sign language, as icons in our computers and also as road signs. The use of pictogram in such areas goes away with the need for words that would occupy more space and would require more time to read. In case of road signs such as U-turn and Danger signs, the viewer reads these signs quickly and thus response is fast. Part 2: Art as a Window into Culture The Seated Gudea is a sculpture of Mesopotamian King Gudea of Lagash, belonging to the Neo-Sumerian period. The sculpture was commissioned by the King himself but the sculptor is unknown. In this sculpture, the king is depicted as a pious person who remains seated with hands clasped in a prayer-like position. Inscriptions are seen on the robe of the King, telling the story of the King who built the temple. The Akkadian relief sculpture of King Naram-Sin of Akkad depicts the victory of King Naram-Sin over the Lullubi. This relief sculpture was probably intended to become a monument. Both the sculptures are praise to their Kings. In the ancient times, the Kings used art to express their greatness. However, the subject of both the paintings is different in a manner of their emotions. King Gudea is shown as a humble person whose contribution to his people is the building of the temple. Gudea is depicted in this sculpture as a humble and peaceful person. In the case of King Naram-Sin of Akkad, the King is the opposite of humble as he basks in the light of his victory over the Lullubi. The King here is proud of his accomplishments and believes in his own might. This shows how the cultures differed as Gudea had strong religious beliefs while King Naram-Sin was sure of his own capabilities. 3. Reflection Assignment: The Evolution of Pyramid Design Pyramids were built in Ancient Egypt primarily for the purpose of serving as tombs for the Pharaohs, their queens and their entire ruling family. However, these Pyramids represent the architectural geniuses of the people who built these structures. Pyramids are great collectors of energy. Another seemingly interesting fact about the shape of the pyramids is the method of decomposition that occurs to the bodies inside the tomb. Rather than stinking or smelling, these pyramid structures lead to the mummification of the body. The Pyramids of Giza are the most functional and elaborate of the Pyramid Design. The Pyramids of Khufu and Cheops in Giza are built based on the Earth’s basic geophysical data linked with the Pyramid’s dimensions. Also being the largest pyramid, The Pyramid of Khufu also acts as radar. Thus these Pyramids not just serve the purpose of being tombs but in the greater context are architectural relics. 4. Writing Assignment: Lasting Monuments One monument that I believe would be a lasting monument in this age would be the Sydney Opera House located in Sydney, Australia. There are two reasons behind this choice. The first is apparently the architectural beauty of the building. The building has become an icon for Sydney in the same way that people remember India by its Taj Mahal, Egypt by its Pyramids and Paris through the Eiffel Tower. The Sydney Opera house is an example of modern expressionist architecture and the idea of the design was conceived largely by Danish architect Jorn Utzon, who won the contract for this building through a design contest. For this design, Utzon also received the Pritzker Prize, one of the biggest awards for architects. The shell-like roofs of the Opera House have become an icon for Australia and just like the Pyramids, this building is also well ahead of its time. ‘The distinctive roof comprises sets of interlocking vaulted ‘shells’ set upon a vast terraced platform and surrounded by terrace areas that function as pedestrian concourses’ (Sydney Opera House, 2011) It is not just the architectural beauty of the Opera House that makes it a landmark but this building is a masterpiece because of its innovative engineering and ground breaking technology. The Opera House, though was constructed amongst huge financial constraints, was able to establish a position for Sydney in the world map with this building that was a landmark both in terms of its architectural beauty and for the cultural richness it brought into Sydney. It is not just my opinion but the Sydney Opera House was enlisted in the World Heritage List in 2007 for its creativity, architectural form and structural design. Another reason for selecting this building is because of its function. The Sydney Opera House serves as one of the greatest performing art centers of the world. This art center features more than 1500 performing each year as millions come to attend. The Opera House has multiple venues that include The Concert Hall, the Opera Theater, Drama Theater, The Utzon Room, The Forecourt, The Playhouse and the Studio. Even as it is an art center, the Opera House attracts millions of tourists who just come to observe the building. The best thing about the Opera House in terms of culture and art is the fact that this building is accessible to the general public allowing room for the culture to make a place in the history of the building. Since art is one of the most important aspects of a culture, the Sydney Opera House enjoys a good position even in this regard. Throughout history, cultures have been identified and studied with respect to their art and architecture. In the case of the Sydney Opera House, it represents both aspects being an architectural masterpiece along with being a cultural hub for the people of Australia. Australians realize the importance of the building and have developed the Convention plan that would uphold the beauty of the building both as an architectural innovation as well as a culture centre. 5. Research Paper Assignment: Outline I. In this research, we attempt to explore the treatment of the female gender by two artists namely, Sandro Botticelli and Tiziano Vecellio on the identity of Venus in their specific paintings. These artists belong to different time settings and thus have explored Venus in a different context, yet Venus being the God of love cannot be shown without her sensuality. II. Botticelli’s Venus is modest while Vecellio’s Venus is without any modesty A. Botticelli shows the birth of Venus, coming out of her pearl 1. Venus uses her hands to cover her breasts and her groin is covered through her hair; 2. Botticelli’s Venus is inspired from Venus De’ Medici, also known as the modest Venus B. Vecellio’s Venus is not concerned about her nudity 1. Vecellio’s shows a completely nude Venus except for the scant jewelry that she is wearing 2. Venus looks straight in the eye of the viewer, without any concern of her nudity III. Botticelli shows Venus as a divine creature while Vecellio’s Venus is more humane C. Botticelli shows Venus as a divine creature 1. The use of gold in the painting adds to the divine quality of Venus 2. The statue like quality and posture of Venus characterize her as a goddess D. Vecellio’s Venus is more humane 1. Vecellio’s Venus reclines on the couch in the pose of a seductive woman rather than a goddess 2. The voluptuousness of Venus further subtract the element of goddess IV. Both artists have shown Venus as a sensual woman while trying to remain within the constraints of society at that time A. The sexuality of Botticelli’s Venus 1. Venus is shown completely nude even though society at that time was still opposed to such displays of nudity 2. Hair and hands hide her nudity to a certain extent B. The sexuality of Vecellio’s Venus 1. Again Vecellio’s Venus is also completely nude 2. The left hand which covers the groin of Vecellio’s Venus is placed in the center of the composition and thus the eye reverts there. V. In both the paintings, Venus is shown as a sexual being primarily since Venus is the God of Love and the nudity is almost a given for her. However, the similarity ends here. Botticelli’s Venus is modest as compared to the wanton Venus of Vecellio. Also Vecellio’s Venus is more humane while Botticelli’s Venus has a divine aura about her. 6. Reflection Assignment: Religion & Art in Ancient Greece The Greeks were very religious in their views, an indication of this can be observed by the Greek Temples that were the biggest and the most powerful buildings of that time. Greek art mostly focused on its Gods and depiction of scenes from mythology. Greek religion is all over their art. Greek sculptures, paintings and other artworks are greatly inspired from their gods and usually show one of the Gods from a specific mythological scene. The Greek sculptors used Gods as their subject to sculpt beautiful and perfect human beings. Greek art was thus a tribute to their Gods. Another influence of religion on their architecture was the fact that Greeks built the most temples that were dedicated to their Gods. The Erechtheum is an example of such a temple. The Erechtheum was one of biggest buildings in the ancient Greek, with other big buildings also being temples of their various Gods. Also the Greek religious body had the power over choosing the architect for important building and also guided the construction of the building to his own specifications. 7. Writing Assignment: Analysis of Dying Gaul (500 words) The Dying Gaul or the Dying Gladiator, as it was formerly known is a marble copy of an ancient Hellenistic sculpture that the Romans copied. The Dying Gaul depicts a dying Celt who lies on his shield with other objects such as his sword. The Romans were born warriors and their values reflect in this piece of sculpture. War was the natural state of affairs for this people and the realistic expression on the face of the sculpture accurately illustrates the emotion of the defeated warrior. For the Romans who copied this sculpture, defeat was more akin to death as the title of the sculpture captures this emotion. The artist in this sculpture has combined both realism and artifice to lend emotion to this sculpture. The bleak and defeated expression of the sculpture adds to the impact and meaning of the sculpture since it accurately captures the feelings of the Dying Gaul. Though the sculpture has not been created showing any implied movement but one still feels the movement in the tension created in the pose. These contrasts with the feeling of death that the sculptor intends to portray but the tension compliments the agony shown through the expression. The nudity of the sculpture also adds to the impact since the Dying Gaul is a defeated warrior who is left with no pride, which for the warrior can be compared to be left without any clothes. Since this sculpture was originally made during the Hellenistic period, it contains elements of that period. The sculptures created during this time focused on realism and provided the viewer art from every angle such as in the case of this sculpture where the Dying Gaul can be viewed from all angles and still maintains its beauty. Movement in the sculpture was also common during this period that was created through the dynamic pose of the sculpture. The movement in this sculpture is shown through the twist of the body that created tension in figures. The dramatic posture and expression of the sculpture is yet another element that was introduced in the Hellenistic period. Another common element during this period was the character that the sculptor introduced in this art. Taking the case of the Dying Gaul, one can understand the character of the warrior as one of pride and strength since the warrior feels dejected after his loss. Nudity has also been widely observed during the Hellenistic period and the sculpture of the Dying Gaul is nude safe for the piece of armor that he wears around his neck, which adds to the element of nudity in the piece. In order to understand a sculpture, one needs to understand the background of the piece. This is vital because the context adds a story and life to the sculpture. Without the background, the sculpture would be another brilliant piece of art that holds no unique beauty to that of another equally brilliant art. Also background is important so that one can compare the piece with other pieces produced during this era and understand whether the piece was a masterpiece, an innovation or merely just a copy of the expression of that time. 8. Writing Assignment: Temple Architecture (750 words) The Erechtheum was a temple constructed by the Ancient Greeks located in the Acropolis of Athens. The temple was created in the honor of King Erechtheum and Homer’s Illiad makes a mention of the building. The most striking element of the temple is the Porch of Caryatids that shows six draped maidens as supporting columns of the south side of the building (Darling, 221). These columns are constructed in such a manner that the delicate most features of the maidens which is the neck, is capable of supporting the entire roof. The east side of the building is again supported by columns but these are Ionic Columns, which were common during that period of Greek history. The Erechtheum is one of the earliest examples of guilloche ornamental moldings whereby a delicate intricate pattern was repeated within the whole building. The Pantheon, also a temple, belonged to the Roman era and is located in Italy, Rome. The Pantheon follows a circular plan with a rectangle extension that is aided Corinthian columns on the external side of the building. The Pantheon features the rotunda which is one of most attractive features of the temple. The Rotunda is dome shaped roof of the temple complete with an oculus. The interior of the dome has niches constructed within the dome to represent the effect of the arched vaults of heaven (Aldrete, 157). The Pantheon depends on two basic shapes in its architecture, these being circle and rectangle. Before we move on to compare the two buildings, we have to understand that the Romans took over Greece in 146 BC and thus their art and architecture was greatly inspired from the original Greek architectural with few modifications of their own. Thus the Roman reused many of the elements present in the Greek architecture which can be observed through the use of columns and triangular pediments. The Greek columns which were Ionic, Doric and Corinthian were basically reused by the Romans in their own temples but with certain modifications. Furthermore the Romans borrowed the proportions and forms of Greek architecture and with it they borrowed the rule of the golden rectangle. However, the Romans took the temple architecture of Greeks to a new platform where they introduced Italian architecture in the form of domes, arches and the vaults (Dunstan, 123). Studying the buildings, one would find the first similarity in the presence of the portico and the columns supporting the external edge of the temple. Also the columns of both the temples end in Frieze, the section of the entablature. However, the similarity ends here. The columns of the Greek are Corinthian style columns while the Erechtheum features the Caryatid columns. Another point of difference between the two temples is their floor plans. The Pantheon is circular while the plan of Erechtheum is quite visibly rectangular in shape. The Pantheon also features concrete dome and within it the oculus but the Erechtheum clearly does not rely on the same plan. The Pantheon opens up to form a circular plan and provides the viewers with an open feeling. The Erechtheum however uses a rectangular floor plan that remains constant throughout. In terms of worship, both the Greeks and the Romans practiced the Pagan religions and therefore Roman temples did not have to be modified to suit the religion. Both the Greeks and the Romans used their walls as painting mediums for any mythological story. Also sculpture placed at strategic positions was common in both these cultures. Since the religion of both the Greeks and the Romans was polytheistic, the temples were created to honor more than one God and thus niches were required in order to place each God at a prominent position so as not to anger any God. Roman and Greek temples were later modified as Christian churches. Even though the religion of the Christians demanded the worship of only God, temples were used as inspiration despite this known fact. Probably the main reason behind this was the availability of temples in such large numbers and proportions. The ornamental style of the Greek and Roman temples were reused in Christian temples. Christian temples are incomplete without the presence of a sculpture of Jesus Christ, the most revered figure in their religion. Similarly Greek and Roman temples were also haunted by the sculptures of their own gods. Just as the Greeks and the Romans employed their walls and ceilings to paint important mythological scenes, the Christian use the glass to adorn their Churches. 9. Research Paper Assignment: Rough Draft Part 1 The Nature of Venus Both Vecelli and Botticelli have used Venus as the main inspiration of their painting but the Venus in these paintings differs on account of her character. Botticelli’s Venus appears more modest as compared to the Venus created by Vecelli. This is obvious through the posture of both the Venus. The posture of Botticelli’s Venus is one which depicts the main figure as being shy and conscious of her own nudity. Her legs are bent to make her smaller which is a body language employed by people conscious of their own shortcomings. In the case of Botticelli’s Venus, there appears to be no shortcoming but the fact that she is completely nude. Also Botticelli’s Venus uses her hands and her hair to conceal her most private parts which are her breasts and the groin. Another reason for believing that Botticelli’s Venus is modest is because this sculpture is inspired from Venus De’ Medici, also known as the modest Venus. The posture of Venus De’ Medici is similar to Botticell’s Venus which brings us back to the fact that Botticelli’s Venus is meant to be modest. Vecelli’s Venus on the other, appears to be proud of her nudity. This is apparent also because of the posture of the Venus. She lies languorously on the couch and almost stretches to bring her nudity to prominence. Even though Vecelli’s Venus is also using her hand to cover her groin, the impact is more provocative. It attracts the attention of the viewer to the painting and since Vecelli painted the groin in the exact middle of the painting, we understand that Vecelli’s Venus is meant to be seductive. This is aided by the fact that Vecell’s Venus looks directly in the eye of the viewer without any concern for her apparent nudity. She seems to be beckoning the viewer to be tempted by her lustful beauty. The smirk on her face and the frankness of the eye is an indication of this conclusion. The Aura of Venus Another point of difference between the two paintings is the aura of Venus in both the painting. Botticelli’s Venus has a more God like quality which is suitable for a painting depicting Venus, the God of love. Botticelli has shown Venus as a divine creature by the use of perfect proportion in creating the figure. Being a God, the figure of Venus should be perfect and sculpted as a statue. Botticelli has done the same by using an ethereal quality for creating the painting. This is does by subtly using the color gold to add divinity to the painting. However, the Venus painted by Vecelli is more humane. This can be concluded through the proportions of Vecelli’s Venus which resemble a blossoming teenager instead of being a God. Probably Vecelli had attempted to paint Venus during her teenage years but the impact of the painting depicts Venus as a human rather than being a God. Someone who does not have adequate knowledge on this painting would not assume that Vecelli has created the Goddess of Love. Also the posture of Vecelli’s Venus is more seductive rather than being divine. Since seduction and lust is attributed to be a human quality, we assume that Vecelli’s Venus is humane. The Sexuality of Venus Even though Botticelli and Vecelli have portrayed Venus in different auras and nature, they were unable to discount the fact that Venus is a sensual deity. Though these painting were created in a time when nudity was greatly criticized by the society, both artists were able to depend on art being a free expression to get their point across. Even though Botticelli has shown Venus as modest, the nudity of the creature brings her sensuality into focus. The covers of the private parts in a subtle fashion do not detract from the sensuality of Venus but rather bring it into focus. Vecelli has painted a more forward Venus and this adds to sensual impact of Venus. Though the sensuality of both the Venus is different but they are sensual nonetheless. The nudity of Venus except for the scant jewelry that she wears illustrates her as one of the most sensual beings. References Daily life in the Roman city:  Rome, Pompeii and Ostia Gregory S. Aldrete  2 Reviews Greenwood Publishing Group, 2004 - History - 278 pages Darling, Janina K. Architecture of Greece, New York: Greenwood Publishing Group, 2004, Print Ancient Rome William E. Dunstan  0 Reviews Rowman & Littlefield, 2010 Posner, Roland, Robering, Klaus and Sebeok, Thomas, A., Semiotik, Germany: Walter de Gruyter, 2004, Print Sydney Opera House, (2011) Overview: The Building, Retrieved from http://www.sydneyoperahouse.com/about/house_history_landing.aspx Read More

 

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