Friday, November 30, 2012

TOPIC ESSAY QUESTION V


Essay 5c

Compare & Contrast – Time Travel

Instruction: Find and post the images of the artwork(s) mentioned in the Topic Essay Question.

Question: Find examples and describe the similarities and connections between Scythians, Celtic and Viking iconography. Can you name one other example between three other distinct cultures, time periods and geographic locations? Describe what other connections you made in your research.

Part 1:

Summary: While answering this question, I was able to research these three culture more in depth. I learned how much these cultures influenced and were influenced by the other.

Reason: The reason this question was asked was so that we can see how different cultures have influenced each other.

Purpose: The purpose this question was asked was so that we can look beyond just the similarities between these cultures’ iconography and gain a better understanding of how these cultures are connected to each other.

Direction: This is one of the questions that greatly interested me. I knew as soon as I read it, that I wanted to answer it, because I knew next to nothing about these cultures and I always like to learn new things. Before I began researching the similarities between the iconography, I first wanted to see how exactly these cultures are connected to one another. Afterwards, I started to look at their art and began to see the similarities.

Impressions: I was surprised by how it was for me to find information on Celtic art. Although there is little information on the Scythians, I was able to find information on this culture more easier and faster than on the Celts. I had an 'aha' moment when I read that the Scythians dispersed into Danube, which connected them with the Celts beyond their trade with the Greeks.

Part 2:

        Throughout history, we have noticed how different cultures have many similarities with regards to their art. This is due to the fact that these cultures have, in some way, influenced each other. The Scythians, Celtics, and Vikings have several elements in common in their iconography. More specifically, all three cultures share zoomorphic motifs, or what is known as animal style.

        Not much is known about the Scythians, but is known is due to the writings of the Greek historian Herodotus. “The Scythians were members of a nomadic people originally of Iranian stock who migrated from Central Asia to Southern Russia in the 8th and 7th centuries BC” (http://history-world.org/scythians.htm). The Scythians migrated across Asia until they settled into the plains north of the Black Sea (http://history-world.org/scythians.htm). “The Greek historian Strabo, wrote that, at the sunset of their empire, some Scythians migrated to the mouth of the Danube and dispersed with other people in that vicinity, which would have been the coincidentally emerging Celts” (http://hal_macgregor.tripod.com/gregor/Scythia.html). “The Celts are the earliest identifiable northern European civilization” (Celtic Beasts, D. O’Neill/C. Davis, p.8). Coincidentally, Herodotus also writes about the Celts, “[pointing] out that in his time the ‘Keltoi’ lived along the Danube River” (Celtic Beasts, D. O’Neill/C. Davis, p.8). In the first millennium BCE, the Celts inhabited a major part of central and western Europe (Art History, M. Stokstad/M.W. Cothren, p.152). The Vikings, or Norse, were seafaring people that descended into Europe in the 18th century and had colonized a large area by the 9th and 10th centuries (Art History, M. Stokstad/M.W. Cothren, p.435). “Norwegian and Danish Vikings raided a vast territory stretching from Iceland and Greenland, where they settled in 870 and 958 respectively, to Ireland, England, Scotland, and France” (Art History, M. Stokstad/M.W. Cothren, p.435).

        The term Animal style is used to describe the use of animal motifs of ancient peoples who considered animals to have magical powers for protection. The zoomorphic use was not just a decoration, but a way or turning the objects into amulets. “Certain underlying principles govern works with animal style design: The compositions are generally symmetrical, and artists depict animals in their entirety either in profile or from above. Ribs and spinal columns are exposed as if they had been x-rayed; hip and shoulder joints are pear-shape; tongues and jaws extend and curl; and legs end in large claws” (Art History, M. Stokstad/M.W. Cothren, p.427).
Source Link Shield Emblem, Scythian - Plaque forming a stag
 
        Scythians used zoomorphic motifs in different objects, including weapons, clothing, ornaments, and jewelry. “Scythian jewelry features various animals including stags, cats, birds, horses, bears, wolves and mythical beasts” (http://en.wikipedia.org/wiki/Scythian_art). What is fascinating about the Scythians is that they didn’t portray the animal exactly as it was, instead they were able to accurately transmit the essence of the animal they portrayed without actually copying its natural form. The animals are highly stylized and certain attributes of the animal are greatly exaggerated. In addition to this, the animals are also depicted in contorted forms and with contrasting positions of the body.
Source Link Plaque with the scene of fighting animals

 

Source Link Golden Deer from tomb near Filippovka

        Animals were a constant part of the Celts, who were deeply connected with creation. They deeply valued animals, respecting and honoring by integrating them into their art (Celtic Beasts, D. O’Neill/C/ Davis, p.9). Celtic art is very abstract and consists mostly of animal style, incorporating weaving and knot-work, spirals, and plant and human forms. Additionally, pattern seems to play a large role in Celtic art as it “becomes an integral part of the object itself, not an applied decoration” (Art History, M. Stokstad/M.W. Cothren, p.152).
Source Link An example of an Insular-style animal pattern from the Book of Kells
 
        Viking art is divided into several styles: Oseberg, Borre, Jelling, Mammen, Ringerike, and Urnes. “Generally, Viking art is based on the abstract animal forms…The animal style consisted of contorted, writhing snakes and beasts whose actual shape is often barely recognizable. Such designs were almost entirely devoid of plant ornament and were most frequently applied to objects in daily use” (http://www.visual-arts-cork.com/ancient-art/viking.htm). Viking art contains pattern and weaving, and contorted and distorted animals, betraying how Celtic and Scythian art influenced them.
Source Link Oseberg ship head post

Source Link Oseberg bow detail

Source Link Bronze ornament from Denmark
 
        It is clear that these three cultures are connected to each other. The Scythians and Celts indirectly influenced each other through their common trade with the Greeks. Furthermore, the Scythians mixed with the Celts in the Danube River, which influenced Celtic art. The Vikings, also, influenced and were influenced by the Celts, when they settled into Ireland, indirectly being influenced by the Scythians as well.

        These three are not the only triad of cultures. I have found that the Egyptians, Mayans, and Babylonians also share some similarities. The Egyptians depict the human figure showing both hands and feet with the head at a profile. I noticed that the Mayans and Babylonians share some of the qualities of Egyptian art, showing the human figure at a profile with both legs and arms visible.
Source Link Egyptian papyrus

Source Link "War" - panel of the Standard of Ur, ca. 2600 BC, showing parading men, animals and chariots

Source Link Mayan pottery
 
        It is amazing to see that cultures that span over different parts of the world and different timelines share many similarities. Maybe all cultures are connected in some way, I don’t really know. But what I do know is that art transcends time and space.

Thursday, November 15, 2012

TOPIC ESSAY QUESTION IV


Essay 7a

Faith and Belief
Found Here Christ enthroned between angels and Saints, apse mosaic, San Vitale

Question: Is Art in any way, an intrinsic part of, or a primary factor in religion or religious expression and if so, how did it specifically play a part in the development of Christianity?

Part 1:

Summary: While answering this question, I was able to explore more in depth how art plays a role in religion.

Reason: The reason this question was asked was so that we can explore how art and religion are connected to each other.

Purpose: The purpose this question was asked was so that we can gain a better understanding about the role art played in Christianity.

Direction: Being a Christian, it was a bit hard for me to answer this question in a non-religious way. I had to look at the artwork purely as pieces of art and not in the viewpoint of a Christian, which, I was surprised to notice, really helped.

Impressions: This was a very interesting question to explore and I was surprised by the different opinions people have about the connection between art and religion. I was honestly surprised to see how many people think that art and religion have nothing to do with each other.

Part 2:

Art is an intrinsic part of religion and religious expression. They are two sides of a coin. One cannot exist without the other. While religion is the belief a person has, art is the expression of that belief. Beyond that, art facilitates religion because of the strong feelings it can evoke in the viewer.

Christianity, despite sporadic persecutions, persisted and spread throughout the Roman Empire until it was formally recognized in 313CE (Art History, M. Stokstad/M. W. Cothren, p. 222). The earliest Christians developed churches and baptisteries as their rites became more ritualized and complicated, and also began to use art to visualize their most important stories and ideas (Art History, M. Stokstad/M. W. Cothren, p.222). Christian art had two important factors – “the narrative urge to tell a good story, whose moral or theological implications often have instructional or theological value, and the desire to create iconic images that symbolize the core concepts and values of the developing religious tradition” (Art History, M. Stokstad/M. W. Cothren, p. 224).

“Christianity, like Judaism and Islam, has always been uneasy with the power of religious images” (Art History, M. Stokstad/M. W. Cothren, p.244). However, icons played an important role in prayer and worship because they acted as “intermediaries between worshippers and the holy personages they depicted” (Art History, M. Stokstad/M. W. Cothren, p.244). The icon itself was not the recipient of adoration, but it served as a focus. “Honor showed to the image was believed to transfer directly to its spiritual prototype” (Art History, M. Stokstad/M. W. Cothren, p.245).

“Seeing is believing.” It is in human nature to see in order to believe. “Consequently, seeing is salvific…Humans need to perceive God in order to know God” (Article - Early Christian Art and Divine Epiphany, R. M. Jensen, p.135). According to R. M. Jensen, “an artistic representation preserves the appearance [of Jesus] just as the Scriptures preserve the words of Christ” (Article – Early Christian Art and Divine Epiphany, R. M. Jensen, p.136). Furthermore, through the illustrations in Christian art, the viewers “may have been prompted to imagine themselves as eyewitnesses, along with the disciples…What they could not have perceived in life, they could through the medium of art” (Article – Early Christian Art and Divine Epiphany, R. M. Jensen, p.136).

It is very different to see than it is to hear or read. Art was a very important and essential part of Christianity. It presented the divine image to viewers in an accessible form, as icons. It also allowed the viewer to see different biblical scenes, allowing them to form a connection with and learn about Jesus. Christian art helped make Christianity more accessible.

Friday, October 26, 2012

TOPIC ESSAY QUESTION III


Essay 1c

Compare & Contrast – Mother Earth, Fertility, Love and More?

Instructions: Find and post the images of the artwork(s) mentioned in the Topic Essay Question.
Question: Describe the functional purpose of the Venus of Willendorf and the Venus De Milo. How is their imagery similar? How is it different? Find a third Venus example to compare these two to and describe why you selected it.

Part 1:

Summary: While answering this question, I was able to see how the two Venus statues, although from different time periods and cultures, have many similarities between them.

Reason: The reason this question was asked was so that we can explore how different cultures have similarities between them.

Purpose: The purpose this question was asked was so that we can understand what connections there are in different cultures, more specifically in their art.

Direction: I had a little bit of knowledge about these two Venus statues; however, by researching, I was able to gain a better understanding about them.

Impressions: I was surprised by the small amount of information there is about the Venus de Milo.

Part 2:

            The Venus of Willendorf and the Venus De Milo are depictions of Mother Earth and the goddess of Love, respectively. More importantly, however, they are depictions of a woman. Although these two statues are from different cultures and time periods, there are several similarities between them.

            The Venus of Willendorf, or Woman of Willendorf, is a statuette from Austria that dates back to the Upper Paleolithic period, about 24,000 BCE (Art History, M. Stokstad/M.W. Cothren, p. 6). This statuette has very large breasts, hips and stomach. “The sculptor exaggerated the figure’s female attributes…” (Art History, M. Stokstad/M.W. Cothren, p. 6). The exaggerated features, in addition to the visible vulva, signify that this figurine is a symbol of fertility. The well-nourished body that expresses the ability to bear strong children (Art History, M. Stokstad/M.W. Cothren, p.6).

Source Link Venus of Willendorf
 
            There are several theories about this figurine’s purpose. Clive Gamble, an archeaologists believes that the figurines were a nonverbal form of communication among small isolated groups and that when groups of hunters gathered together they would be able to tell if the other groups were friendly (Art History, M. Stokstad/M.W. Cothren, p.7). Leroy McDermott, however, believes that “the perspective was that of a pregnant woman looking down at her own body…[and] the figures were sculpted by pregnant woman and were depictions of their own bodies” (Art History, M. Stokstad/M.W. Cothren, p.7).

            Venus De Milo, also known as Aphrodite of Milos, was created between 130BCE and 100BCE, and stands at about 6 feet and 8 inches (http://en.wikipedia.org/w/index.php?title=Venus_de_Milo). “The figure has the heavier proportions of High Classical sculpture, but the twisting stance and the strong projection of the knee are typical of Hellenistic art” (Art History, M. Stokstad/M.W. Cothren, p. 156).

Source Link Venus De Milo
 
The Venus De Milo statue, unlike the Venus of Willendorf, is tall, slender and long-limbed, and does not seem to possess the body of someone who has given birth. The Venus of Willendorf has a large, well-nourished body that seems to suggest that it has given birth plenty of times. Another difference between these two statues is that the Venus of Willendorf is completely nude while the Venus de Milo is not.

Despite these differences, it is clear that the two statues share some similarities. They were created according to what their cultures believed was the ideal representation of a woman. In addition, these two statues have some sensuality. The Venus De Milo’s “juxtaposition of flesh and drapery, which seems to slip off the figure entirely, adds a note of erotic tension” (Art History, M. Stokstad/M/W. Cothren, p.156). The figurine of Venus of Willendorf, being only 4 3/8 inches tall, is perfect to be held in the palm of the hand. “As fingers are imagined gripping her rounded adipose masses, she becomes a remarkably sensuous object, her flesh seemingly yielding to the touch” (http://arthistoryresources.net/willendorf/willendorfwoman.html).

For the third Venus, I chose Venus Callipyge because this statue is so different from other works of arts that depict Venus. The statue, made from marble, is a Roman copy that dates to the late first century BCE (http://en.wikipedia.org/wiki/Venus_Kallipygos). This statue depicts a woman raising her clothing and exposing her hips and buttocks. Like the other to Venus statues, this Venus also has sensuality. “The…statue’s pose draws further attention to the naked buttocks, and gives the figure a distinctly erotic aspect” (http://en.wikipedia.org/wiki/Venus_Kallipygos). The statue is also partially nude, like the Venus De Milo. However, unlike the other two Venus, this Venus does not have her breasts exposed. Also, the Venus Callipyge is willingly exposing her buttocks while it is believed that the Venus De Milo’s missing right hand held on to the sliding drapery to keep it from falling down (http://en.wikipedia.org/w/index.php?title=Venus_de_Milo).

Source Link Venus Callipyge
 
Since prehistoric times, women have been revered for their ability to conceive children and been held to a certain standard. They have been idealized, and statues have been carved to show what that ideal, or standard, is. The Venus statues show different views on what women should look like.

Thursday, October 4, 2012

TOPIC ESSAY QUESTION II


Essay 6c

Oh, Mamma!

Instruction: Find and post the images of the artwork(s) mentioned in the Topic Essay Question.
Question: Describe the similarities of and connections between the cults of the Earth goddess Gaia, the Virgin Mary and Devi, the Hindi Mother goddess. Select representative artwork depicting each one and describe the similarities in the imagery.

Part 1:

Summary: While answerng this question I was able to research more deeply about these three iconic figures and understand more about the religion surrounding them. I had an interesting experience finding information. I was honestly surprised by all the information, and different versions and theories about each. I started by researching who they were and then going more into the cults and how they are worshipped.

Reason: The reason this question was asked was so that we can see what the connections between these three iconic figures are and how they are similar.

Purpose: The purpose this question was asked was so that we can gain a better understanding of how ideas or concepts keep repeating in different religions, and how these ideas are connected.

Direction: I had a little bit of knowledge about Gaia and the Virgin Mary, but had never heard of Devi. The first thing that I did was find information about all three of them, more specifically what they represent. Then, I decided to look into the religion – what roles they play and how their cults worhip them.

Impressions: I was surprised by many things during my research. One of the things that surprised me was that all Hindu goddesses are different facets of the goddess Devi. Another thing that I was surprised about was the new Gaian cult that was founded in the 70s. I always thought that no one worshipped Gaia anymore; I mean, I know that some people still worship the Greek gods, but I never though about Gaia before. I was very interested by how many different versions and opinions there are about all three iconic figures. To be honest, I was slightly overwhelmed.

Part 2:

During the course of mankind, motherhood has been venerated. Discoveries of small human figurines depicting a female form, dating back to the Upper Paleolithic period, have been found. These figurines, often portrayed in a way that conveyed the ability to bear children, are depictions of Earth Mothers or Mother Goddesses. These Mother Goddesses have become multifaceted as humans grew more cultured, and have been given different names. Although the Mother Goddesses vary from culture to culture, many of the core aspects remain the same.
Devi, the Hindu Mother Goddess, "controls material riches and fertility" (Art History, M. Stokstad/M.W. Cothren, p. 298). She has many facets - beauty, wealth, auspiciousness,  wrath, pestilence, and power (Art History, M. Stokstad/M.W. Cothren, p.298). "She is 'Ma' the gentle and approachable mother" (http://www.asia.si.edu/devi/whoisdevi.htm). Devi (meaning "goddess") as a cosmic force has many functions - she destroys demons that threaten the balance of the world, and also creates, obbliterates and reforms the universe. Other of her facets include a dayini, or gracious donor of boon, and a heroine, who comes to earth and becomes an inspiring model to the women (http://asia.si.edu/devi/aspectsofdevi.htm). Devi has many other aspects and is worshipped by different names as "[a]ll Hindu goddesses may be viewed as different manifestations of Devi" (http://www.asia.si.edu/devi/whoisdevi.htm).
Source Link Contemporary chromolithograph of Lakshmi
 
In the cult of Devi, there are "Five Essential" through which men can enjoy their existance, preserve their lives, and obtain issue - Madya (alcohol), Mamsa (meat), Matsya (fish), Mudra (delicacies of patched food), and Maithuna (sexual union). Through this practice, men can achive Moksha, or salvation (http://www.indianetzone.com/51/cult_devi_india.htm).
Source Link Detail of "Bhadrakali Appears to Rishi Chyavana"
 
Goddesses are often worshipped in shrines of wood, mud and thatch. Hindu worship, or puja, is the act of venerating a deity through invocations, prayers, songs, and rituals. A spiritual connection is achieved through darshan, which is seeing an image of the god or goddess. Devi presents herself for darshan to bestow blessings upon the worshippers(http://www.asia.si.edu/devi/worshippingdevi.htm). Festivals are also held throughout India. An example of this is the Durga Puja. Images of Durga, made of wood, straw, and clay, are paraded through the streets during this ten day festival,  which is celebrated in late September or early October (http://www.asia.si.edu/devi/festivals.htm). "At the end of the festical the images are submerged into the Ganges, thus returning Devi to her source" (http://www.asia.si.edu/devi/festivals.htm). The period during which the festivals are held vary depending on what facet of Devi is being celebrated.
A Mother Goddess like Devi, Gaia, the Grecian Earth Goddess, is the personification of Earth. She is often portrayed emerging from the Earth or as being a part of the Earth. “She is Mother Earth, fertile origin of everything” (http://www.wic.org/artwork/gaea.htm). There are many versions about how Gaia came to be and the creation of the Universe; one of these is Hesoid’s version. In Hesoid’s version, Gaia sprang into existence from Chaos. Gaia, through an asexual reproduction, gave birth to Uranos – the Sky – and Pontus – the Sea. Mating with Uranus, she birthed the Titans, the Cyclopes, and the Hundred-Armed Giants (http://www.crystalinks.com/greekgods2.html).
  
Like the Hindu goddess Devi, Gaia has many aspects or qualities. She can be the caring mother who worries about her children, as can be seen in the frieze Athena Attacking the Giants. Athena has Ge’s son Alkyoneos by the hair and is forcing him to his knees. Ge (another name for Gaia) rises from the earth to plead for her son’s life (Art History, M. Stokstad/M.W. Cothren, p. 152). She can also be a source of retribution. This is evident in the myths, when Uranus tries to keep Gaia’s children in her womb and Gaia turns to her son Cronos, asking him to castrate his father.
Source Link Athena Attacking the Giants, frieze from east front of Pergamon Altar
 
Although Gaia played the main role in the creation of the gods and all things, her role greatly diminished, making way to a society dominated by men. However, she has not been forgotten. A modern cult of Gaia rose in the 1970s called the Gaia Theory.  This movement is completely pro-earth, claiming “that the earth is a sentient super-being, an ancient goddess spirit, deserving of worship and reverence” (http://green-agenda.com/gaia.html). This cult came to be through a scientist working in NASA, Dr. Lovelock. It originated when Lovelock was tasked with finding life on Mars. While investing some methods, he realized that the earth was acting like a self-sustaining sentient super-organism, which he called Gaia. According to him, Gaia had evolved to such a point where she was awake and could see through us and through our technology (http://green-agenda.com/gaia.html). The Gaians’, as the members of this cult call themselves, also believe that “Gaia is the life force that flows through all of us, that connects us to and makes us one with trees, rivers, mountains, bees, ants, moose – everything” (http://www.ofspirit.com/susanmeekerlowry1.htm).
Source Link Gaia, by Oberon Zell
 
“Some [of Gaia's] common forms of worship may include prostration, attempting to reach a greater connection to the earth, shamanistic practices, tithing, praising and praying, creating inspired works of art dedicated to the goddess, burning oils and incense, rearing plants and gardens, the creation and maintaining of Sacred Groves, and burning bread or spilling drink as offerings” (http://www.crystalinks.com/greekgods2.html).
The Virgin Mary, unlike Devi and Gaia, is not a goddess. Although she is a mortal, Mary still is a very important figure and powerful in her own right - she is God-bearer. Mary gives parthenogenetic birth to Jesus. "As Theotokos (Greek for 'bearer of God'), Jesus' earth mother was viewed as the powerful, ever-forgiving intercesor, appealing to her divine son for mercy on behalf of repentant worshippers" (Art History, M. Stokstad/M.W. Cothren, p.245). "The Blessed Virgin Mary is known as the dispenser of mercy, the ever patient mother, and protectress of humanity" (http://journeyingtothegoddess.wordpress.com/2012/05/13/goddess-mary/). "She was also called the Seat of Wisdom, and many images of the Virgin and Child...show her holding Jesus on her lap in a way that suggests that she represents the throne of Solomon" (Art History, M. Stokstad/ M.W. Cothren, p.245). Although the Virgin Mary is officially a mortal in the Catholic Church, many Catholics revere her as a Goddess (http://journeyingtothegoddess.wordpress.com/2012/05/13/goddess-mary/).
Source Link "The Crowning of the Virgin by the Trinity" by Diego Velazquez
 
The portrayal of the Virgin Mary is similar to that of Gaia, because Gaia more often then not is depicted as being in or a part of the earth while the Virgin Mary is more often than not portrayed as sitting on a throne with baby Jesus on her lap. In addition to this, Mary is also surrounded by angels and with a halo, signifying divinity. 
Source Link Virgin and Child with Saints and Angels
 
The veneration for the Virgin Mary began in the 12th Century, well over a millenium since the Catholic Church was established. During the middle of the Century, Notre Dame, a grand cathedral in honor of Mary was built. By being the vessel through which Jesus, the Savior, was born, Mary represented the triumph over Eve's sin (http://voices.yahoo.com/the-cult-virgin-mary-during-12th-century-1475961.html).
Like Devi, the Virgin Mary is also celebrated through festivals that are held in her honor. She is also venerated in prayers and by going to the church. Like Hindu worshippers of Devi, who see the image of the god or goddess to invoke them, those who worhip the Virgin Mary also pray to an image of the Virgin ,or by using a rosary, so that their prayers are answered.
Devi and Gaia are Earth Goddesses while Mary is a mortal woman, although in some versions Mary is though to be of divine nature. Although Devi and Gaia have many aspects, or, in Devi's case, forms, the core aspect of nuturing mother is present. Mary, on the other hand, is always the gentle and caring mother. Gaia and Mary share the ability of giving birth through parthenogenesis, that is to say without the participation of a father. Gaia and Devi are similar in that through them the Universe was created. Devi and Mary are worshipped very similarly, they both have shrines and temples for worship. Cults for these three icons still exist today and they are all venerated. Although they don't all share the same type of worship, they all receive worship through praise and prayers. The prayers all begin by exaltation, then go on to some sort of praise, and finally to a supplication: 
  • "I bow to you, O Mother of All Worlds, O Lotus Born, O Four-Armed Giver of Boons...Praised be you, Loving Devi...Please favor us with continued work, good health, wealth, home, farm, animals, enjoyables, clean water, and food" (Shri Lakshmi Prayers, Celestial Timings, Found Here).  
  • "Oh Goddesss, Source of Gods and Mortals, All-Fertile, All-Destroying Gaia...Immortal, Blessed, crowned with every grace...come, Blessed Goddess, and hear the prayers of Your children...Draw near, and bless your supplicants" (Orphic Hym to Gaia, Found Here).
  • "Hail Mary, Full of Grace, the Lord is with Thee, Blessed are Thou, Amongst Women...Pray for us sinners, Now, and at the hour of our death, Amen" (The Hail Mary Prayer, Found Here).

Tuesday, September 25, 2012

TOPIC ESSAY QUESTION I


Essay 2b

Completeness and Truth
Source Link Judgement of Hunefer Before Osiris
Question: How is it possible that what the Egyptians considered “completeness”, could be misinterpreted as crude, naïve, or unrealistic and how does it affect the “truth” contained in their art?

Part One:

Summary: While answering the question, I was able to get a better understanding on the connection between the Egyptians’ beliefs, more specifically the afterlife, and their art. By focusing more on their religion, I was able to organize my thoughts and find the answer to my questions.

Reason: The reason this question was asked is so that we can explore the Ancient Egyptian culture more in-depth and gain a better understanding of their art.

Purpose: The purpose this question was asked is so that we can understand the reason for which the Egyptians created their art the way they did. In doing so, we may come to realize that we consider being crude and naïve was the truth to them.

 Direction: The first thing that popped into my mind was the correlation between the paintings in the pyramids and the afterlife. I have always enjoyed Egyptian art and architecture, and knew some things about the Egyptians’ belief in the afterlife. I hoped that by understanding more of their beliefs I could also find out about their art. I wanted to know the purpose for which they drew human figures in such an awkward and unrealistic pose.

Impressions: Even though I had a small understanding of the Egyptians, I was surprised by some of the things I came across. I was surprised by how much math played a role in their art and architecture. They used mathematics not only for building but also for their renderings, using specific ratios.

Part Two:

                The Egyptians were a very religious people. They believed that the universe – “the movements of heavenly bodies, the working of gods, and the humblest of human activity [– was a] part of a balanced and harmonious grand design” (Art History, 4th Edition, M. Stokstad/M.W. Cothren, p.50). Above all, they believed in order. Those who lived in such a way to disrupt that order were to be punished in the afterlife, and those who lived righteously could live on eternally.

                Most of the Egyptian art was tied in to their beliefs of the afterlife. They believed that the ka, or life force, lived on after the death of the body and could participate in activities it enjoyed when the person was alive (Art History, 4th Edition, M. Stokstad/M.W. Cothren, p.53). The ka needed a home and a body to live in. “It was especially important to provide a comfortable home for the ka of a departed king, so that even in the afterlife he would continue to ensure the well-being of Egypt” (Art History, 4th Edition, M. Stokstad/M.W. Cothren, p.53). The living quarters for the ka were decorated with paintings and reliefs, which depicted parts of the deceased’s everyday life or ceremonial events that proclaimed the deceased’s importance (Art History, 4th Edition, M. Stokstad/M.W. Cothren, p.61).

                The paintings that decorate the walls of the tombs in Egypt have provided a wealth of information of Egyptian history. “It was the artists’ task to preserve everything as clearly and permanently as possible” (http://www.aldokkan.com/art/painting.htm). However, when we look at the figures painted, they are depicted in poses that would be impossible in real life: the heads are shown at a profile, the eyes are rendered frontally, the torso is fully frontal, the hips and legs are at a profile, and the figure is striding to reveal both legs. Not only that, but the figures were also rigid and flat; there was no attempt at illusionary three-dimensionality. This is due to the fact that the artist drew from memory images in such a way that the each body part was represented from its most characteristic angle (Art History, Portable 3rd Edition, M. Stokstad, p. 54).

The Egyptians wanted a sense of order and balance within their art, and, to achieve this, they followed already-established conventions, such as mathematical formulas to determine proportions and simplified drawings and contours. The artists even “established an ideal of the human form, following a canon of proportions. The ratios between a figure’s height and all of its component parts were clearly prescribed” (Art History, Portable 3rd Edition, M. Stokstad, p. 54). What we deem to be crude, naïve or unrealistic – that is to say, the impossible pose and flat figures – the Egyptians called completeness. The fact that the images were drawn unrealistically does not take away from the truth of their art. What is truth but a perception! What we consider to be the truth is affected by our beliefs. Everything that they did had order, balance, and harmony that was deeply connected to their beliefs, and THAT was their truth.