See chapters 4-8 Visual Elements and Principles of Design in SAYRE A WORLD OF ART textbook for complete definitions of the visual elements and principles of design.
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It was thought that only the priests and others who had taken religious orders could properly interpret God’s word, so it was forbidden for ordinary people to read the bible.
Therefore, icons were painted and adorned churches in order to provide the salient stories from the bible for the public to allow them to contemplate and understand the bible. They were used for lessons and so that the people could remember the important parts of the bible, especially the New Testament and the Gospels, and also to inspire as the people believed that if they venerated the image of Jesus or a saint, their actions would pass on to the figure depicted (Lossky and Ouspenky 1999).
Icons were created on all kinds of surfaces, including fine linen, wooden plaques and etchings on metal. What binds them together is the intent as a religious icon to venerate and upon which to meditate, the distinctive style with the figures generally lacking perspective or three dimensionality and the text which is true to the subject.
The visual elements of this icon are consistent with the story from the New Testament of Christ’s entry into Jerusalem amid cheering crowds and joy, as he was recognized as the Savior. However, the Israelites thought the savior would come as an earthly king, so when it came to pass that Jesus was sacrificed instead, many did not believe He was the Savior.
This icon represents Christ’s triumphant entry into Jerusalem on Palm Sunday, just a week before He would be sacrificed upon the cross. The twelve apostles are represented and they are the same size as Christ. There is a woman with a child dressed in red, which could have been Mary Magdalene, but who the child would be is a mystery. Christ’s mother, Mary, cannot be seen.
The style is highly stylized in the Russian Orthodox style of iconography("Icon." 1-1). The perspective is all flat, as if
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For this report, I’ve chosen an Egyptian work that is related to death/funerary rites, namely, The Relief of Montuemhet and his wife Shepenmut, ca. 665 B.C. This pigment on limestone exhibit was originally excavated from tomb 34 and its dimension is 13 9/16 x 10 7/16 inches.
The DIA remains open on all days except for Monday and Tuesday, though the timings differ from one day to another, On Saturday and Sunday, the museum remains open from 10am to 5 pm. On Wednesday and Thursday, the museum opens at 10 am and closes at 4 pm in the evening.
By examining the form, I hope to incorporate my understanding of the two artworks in terms of its artistic elements with its actual presentations. On the other hand, by examining the substance, I aim to elevate my appreciation of the two artworks by putting the primary messages in a wider socio-historical context.
It became located in 494 Tache Avenue amid Despins Street and Avenue de La Cathedrale in Saint Boniface (St. Boniface Museum). Saint Boniface get to be found in Winnipeg’s Riel district. The museum has provided the contacts through which people can communicate to the museum; one can use either the phone number (204-237-4500) or the fax (204-986-7964).
It is also only a block away from the city’s Institute of Arts. The museum is open from 9 am to 5 pm, from Tuesdays to Fridays, and then from 1 pm to 5 pm on Sundays. During February, which is considered the Black History Month, the museum opens every Monday.
The Dogon masks are also more abstract in proportion because they are used for a religious ritual for deceased Dogon men called Dama. It may represent naturalistic entity like the members of the Dogon tribe