Comparison of the Two Pieces of Pottery - Essay Example

Visual Arts and Film Studies Part I Introduction Pottery is a significant component of art and architectural assets of any civilization or culture. Pottery has come across various transformations over the passage of time. Developmental stages that various civilizations have been subjected to are reflected in their pottery to a great extent. In this paper two pots have been chosen to be compared, studied and analyzed. Variations in their designs and reflections of development in the techniques used by potter and artists shall be discussed under various dimensions and scopes throughout this paper. Discussion of Greek architecture and the various stages of development that it went through and the impact of those developments on their art and artifacts is the focal point of this paper. To attain the objective and to compare the variation in art pertaining to two different periods of the same civilization, pottery has been decided to be focused upon. Tabular Comparison Part II Visual Analysis The above figure is a front view comparison of the two pieces of pottery selected for this paper. In the above figure the two pieces of art are distinguished and deconstructed into 4 major and prominent factions from the front view. Tabular comparison covers the differences between the two pieces of art in detail; however a frontal view comparison is as follows. The two pieces of art can be distinguished into A= Neck, B= Handle, C= Belly and D= Base. In figure A it can be observed that the neck of the vase is slimmer and compliments the imagery that is present drawn on the body of the vase whereas in figure B the neck is wider and once again provides a balance symmetry with the overall orientation of the amphora (Scott, 2004). The handles in both the pieces of art are different in their structure, shape and inclination and perhaps purpose as well. In figure A we can see that the handles are an extension of the vase and are not an additional inclusion in the structure of the pot. The handles are part of the design of the vase. In comparison to Fig A, handles in figure B are not highlighted in the frontal view. From the front view only edges of the handles are observable while in figure A frontal view clearly shows the features of the handles (Scott, 2004). Part C in both the pots is the Belly. In Figure A, belly is circular in its shape and is once again utilized by the artist to compliment the image that has been drawn on the body. On the other hand in Fig B the belly is elongated and is oval in its shape. Belly comprise the main proportion of the entire structure in both the pots but Figure A has a more radial shape of the belly in contrast to Fig B that is slender in its orientation. Part D in both the pots, as highlighted above is the base of the figure. There are similarities in the base of both the pieces of art as can be observed. The base appears to be solid and flat in both the pieces of art. Another aspect to be observed from a technical view point is the width of the base in both the figures is in accordance with the shape and size of the entire art work. In figure A the base is wider than that in Figure B and this variation in width can be associated to the fact that bellies in both the figures occupy a different volume and thus they require different widths of bases to form a balanced art structure (Scott, 2004). In the above table the two art works are deconstructed into various observable components. The differences in the orientation shape and design of the two art works clearly depicts the transformation that the art work and civilization has come across over the passage of time (Lynch, 2005). Figura Activa refers to the active image that can be observed prominently in a piece of art. For figure A figura activa is identified to be an octopus. While in Figure B no prominent character can be identified however circular lines along the horizontal axis are the only notable existence in the art work. Mesomorph is referred to as the overall expansion of the shape of an art work, as can be observed from the above table mesomorph for figure A can be defined as circular while for Figure B it can be defined as slender. The structure of Figure A is circular in its shape while Figure B can be said to have been stretched along the vertical axis. Looking at both the art works from a bird’s eye view, it can be said that both are symmetrical in their orientation and design. However the figura active in figure A is asymmetrical while the entire structure of figure B is symmetrical and well distributed. Looking at the selected artwork by visualizing a horizontal and vertical axis in the background we can observe that figure A is stretched more on the horizontal axis while figure B is stretched more on the vertical axis (Lynch, 2005). Symbolism of the artworks will be discussed in more depth and detail later in this part of the paper; however the art work representing an octopus in figure A has a deeper meaning and mythology behind it. Symbolism and Contemplation Figure 1 depicts a circular vase with the portrait of an octopus drawn over it. The portrait is handmade and is created with great care by the artist. The tentacles of the octopus and the minutest of details in of the body parameters of an octopus are apparent in the picture. The artist has taken great care in ensuring that all the features of the body of an octopus are prominent and vibrant enough to be noticed. The portrait of an octopus is of great religious significance and symbolism as it relates to the Minoan Civilization. Minoans were located near and around the Mediterranean Sea and this location was of great importance to the settlers and inhabitants of the region. Creating pieces of art and motifs with portraits of sea creatures drawn was a way to pay homage and revere to the sea as a superfluous source of income, food and wealth for the civilization for centuries. The sea provided trade opportunities through ocean transportation that provided the inhabitants with a major source of income and wealth. Sea also provided the inhabitants with shrimps and other creatures as an abundant source of healthy and readily available food (Lynch, 2005). The shape and design of this octopus vase is carefully crafted to make it eligible enough to hold liquids such as wine and oil that could be traded for bread and butter. Apart from the relevance and significance to and of sea and ocean for Minoans the figura active of octopus on the vase reflects a deeper message. Minoans are the descendants of Ancient Egyptian civilizations that were characterized by norms of suppression and oppression and in contrast to their predecessors Minoans were expressive and independent. The particular posture of an octopus body that has been used in this portrait reflects the freedom of expression and ideas that was characteristic of the Minoan Civilization. The artist has ensured that the imagery follows a free flowing pattern and is not restricted to certain observable areas of the vase. The tentacles of the octopus are widespread and are even extended to the handle portion of the vase depicting the free will and freedom culture of the civilization (Greenberg, 2006). Figure B that is labeled as the Belly Amphora is a great reflection of the transformation in the mindset as well as the artwork that was created by the artists. The focus shifted from inserting or creating work based on expression of culture and emotion to glorifying geometric style in the creations. Various patterns were discovered, explored and designed under the geometric style to give newer meaning to the heritage of art work. With new shapes and symbols up the sleeves of artists, new projections were added to amphorae and traditional vase structures. The geometric style resulted in the emergence of new features such as shoulders, rim, lids, bellies and foot of the pot. This advancement in shape and technology not only bolstered the art side of the civilization but enabled the traders to trade in larger quantities with convenience. The structure of amphora also reflects the focus on trade of the local population. The body of the amphora is designed in such a manner that would allow the users to store it and use it for various storage purposes such as domestically in kitchens and domestically in ships. The unique design of the foot of the amphora allowed the user to bury the lower half of the amphora in soft sand and practice temperature control with the product preservation (Greenberg, 2006). The outlook of an amphora makes it appear easy to handle and carry volumes in bulk quantities. Using this feature of the amphora structure, sophisticated amphorae were designed in the past that were used for the purpose of either serving as motifs or as awards and sign and symbol of recognition for the people. Today the trophies and sport give-aways that we see resemble the amphorae in numerous ways. The amphora is also known as the symbol of dark ages of the Greek culture that started after the fall of Minoan civilization. This fall led to the emergence of protogeometric art that is considered to be one of the most vibrant symbols of revival and retrieval of the lost civilization and culture. As highlighted in the tabular comparison there is no prominent figura activa in Figure B, however the prominent circles along the horizontal axis cannot be neglected and these circles are actually the signs and symbols of adoption of latest technology and equipment to draw perfect shapes by the artists. This equipment includes the use of brushes and compasses to draw concentric bands and circles around the neck and handle projections of the amphorae. This development and adaptation to newer techniques transformed the focus of art and pottery from aquatic to simpler forms, more concentrated on sharpness of shapes and enhancing the area available for decoration of the amphora. With the passage of time pottery was not used as a mode of art aimed at expressing culture and ideas alone in fact now the production was more commercialized and simplified (Greenberg, 2006). Part III This particular paper has been of great significance as far as the personal development and understanding of art is concerned. It opened new doors and avenues to interpreting art and getting deeper into the symbols, signs and meanings of particular aspects of art to understand the cultural norms and characteristics of ancient civilizations. It has also been learnt that face value is not the only aspect one must look into when it comes to interpret art and pottery. Every feature, every design has its own meanings, significance and value that are enciphered by the artist into a portrait or design. Deciphering the thought, breaking the code and understanding the hidden message behind every move in the art is what it takes to become a great artist. By studying the two works of art from the ancient civilizations it has provided great insights about the development of civilizations, the great skill to adapt to changing world dynamics and mode of expressing emotions and skills by way of art. How the shifts in technology dictate the changes in culture and art of a civilization are also important aspects that have been considered and studied. The shift in the focus of artists from descriptive portraits to simpler shapes is a unique learning obtained through research conducted for this paper. It has been identified that with the passage of time art has been simplified. The simplification of art can be attributed to the fact that invention of new techniques and equipments did not complicate the art itself. Artists focused more on perfection in the designing of shapes rather than creating abstracts for decorative purposes. The use of art for commercial purposes is another aspect that has been discovered while working on this paper. In all in all it was a great learning experience to work on this paper from a professional as well as learning perspective. With the learning and experience obtained the way art should be looked at and interpreted has changed multifold. References Clement Greenberg. Ceramic Millennium. Nova Scotia: The Press of the Nova Scotia College of Art and Design, 2006. Print. K.M. Lynch. The Symposium in Context: Pottery from a Late Archaic House Near the Classical Athenian Agora. Athens: American School of Classical Studies at Athens, 2011. Print. Richard L. Scott. Ceramics from the House of Amphora. Florida: Richard Scott, 2004. Print. Read More