1. Why does Carol Duncan believe that the art museum is a ritual setting?
Duncan noted that the Boston Museum of Fine Arts represents the similar architecture of a Greek temple. This resemblance can be seen in the Erechtheion, located in Athens, which exemplifies this comparison. The Erechtheion is built with Ionic orders, which is one of the three main orders that were used in classical Greek architecture. The Ionic is mostly famous for its “scrolls” that decorate the top of the column. You see the same style of columns holding up the architrave of the Boston Museum. Also visible, is the frontal staircase that leads up to the entrance, which is located just behind the columns. Indeed most of their history they were designed to resemble them.
The Greek temples and Renaissance palaces that house public art collections suggest secular values, but not religious beliefs. Museums are considered secular institutions, where “secular truth became the authoritative truth.” All secular places have rituality behind their purpose. The purpose or focus of every museum is to have the viewe...
In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
Orr, David Gerald. ""Roman Domestic Religion: The Archaeology of Roman Popular Art"." .Bowling Green, Ohio: Bowling Green University Popular Press (1980): pp. 88–103. Western New England University Academic Journal. Pdf.
In “Sacrality and Aura in the Museum: Mute Objects and Articulate Space,” Joan R. Branham argues about the experiences art viewers have in museums based on their surroundings. Her points include how a person is to completely understand and feel a ritual object if it is taken out of its natural context or how someone is able to fully appreciate of work of art if they can’t see it where it truly belongs.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
The Vestibule leading to this entrance hall is identical to the entrance of the Temple of Erectheus on the Acropolis of Athens. The statues in the deep niches, carved by Frederick MacMonnies, combine “American idealism with the elegance of Second Empire Style and is in advanced realm by their lack of enframement or paneling.” The vaulted entrance hall, which leads to the grand staircase, is segmented into three aisles and is clad in Iowa sandstone. The arched central aisle has the names of prominent Bostonians inscribed on them.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
Through some of these artifacts, we can see how the christian spiritual world has been shaped, leaving a great affect for the cuter generations who build off of it. and it is through Museums can future generations grow from the foot steps of the tools of our ancestors to help promote our future. Museums are also known to captivate the minds of many with the wonders of the ancient world all there to be seen and learned about. The Dunham Bible Museum accomplishes that task of offering knowledge to those who seek it through the rare and amazing pieces of history.
In Washington D.C., the abundance of structures representing the Greek Pantheon and other buildings suggests architects constructing the Capital Building, Lincoln Memorial, and National Archives Building had Greek and influences. The Nation Archives building (click here) closely resembles symbolizes the Greek Pantheon with its Corinthian Pillars and statues above. The outside of Lincoln Memorial (click here) was also influenced by Classical architecture. In the Google Street View of the memorial, observers may notice the Doric Pillars along the outside. Inside the Lincoln Memorial (click here) via Google Street View, observers will notice the temple like environment of this memorial. Looking to the top of the Ionic Pillars inside, viewers will notice the over hanging scrolls making these pillars distinguishable from the others. In addition to Greek influences, there are Roman influences. The Jefferson Memorial, “like Jefferson's home in Monticello, is based on the Roman Pantheon” (Fact Monster, n.d.). In the United States, the influence of Greek Classical architecture is abundant across Washington D.C. although it appears the era of Greek influence has transitioned to Postmodern
The ancient Greeks developed a system of orders which were known as columns. There were three different types of columns and each had they own special twist, both structurally and appearance wise. The three orders consisted of the Doric order, Ionic order and the Corinthian order. One shocking fact was that the Romans used the Corinthian columns more than the Greeks did and they were the one that came up with them. Each order could be found in many different parts of ancient Greece. The columns were put into use by creating ancient temples. Since Greek life was mainly focused around religion, their temples were very big and beautiful (“Ancient Greece” 1).
The Parthenon in Athens, for example, is a dedication to Athena; the goddess of wisdom and the patron of Athens (OI). As depicted in The Parthenon at the Acropolis in Athens, Greece (Doc6), this architectural piece is shown to have Doric columns that have a cylindrical shape seeming to be plain but sturdy. In comparison to the Doric style, the Ionic style was more elegant as it was taller and more decorative; engraved with vertical lines and topped with a curved rectangular shape. The Corinthian design is similar to the Ionic design because of the elaborate designs at the end of the pillars; it features more detailed designs that seem to be based around nature such as the inclusion of leaves and flowers. There are many buildings today that include these types of columns in their architectural design mainly in monuments and government buildings. According to the depiction of the White House in Greek Architecture (Doc8), the columns of the White House most closely resemble the Ionic style. Greek architecture are one of the many important legacies that Western civilization had inherited, influencing many architectural elements and building types used in art and architecture
From the remarkable Roman Pantheon, dated from the second century B.C., to the Chartres Cathedral in France, which began construction in the mid-twelfth century A.D., the column is widely used according to different tastes and architectural purposes. It is a Greek creation emerged from the Archaic period between 6oo-480 B.C., during which the two elevation designs from Greek temples, called the Ionic and Doric orders, came into form. The Corinthian order is the third classical Greek architectural order originally used in interiors, which began to appear around 450 B.C. The Greeks used columns in architectures including the Parthenon, the Tholos and the mausoleums, sometimes in pairs and sometimes in colonnades. All three orders, occasionally with various different modifications, were adapted by other civilizations such as the Romans and the Etruscans. They were erected in temples, Cathedrals, Forums, on city streets or even in residents as a supporting device for arches, entablatures, ceilings or roofs. They are also incorporated in reliefs for tombs and cathedrals and expressed in Roman wall paintings. For example, the bedroom walls in the House of Publius Fannius in Boscoreale were decorated with images of columns in fantastic Roman cityscapes. (Stokstad, p.162-213, 223-283, 553-556.)
Kochler, S. & Levi, D. (2012) Perception of Sacredness at Heritage Religious Sites Environment and Behavior October 2013 45:912-930, Retrieved November 8, 2013
This report targets the Romanian Government and it examines the positive and negative aspects of the free admission to museums policy which is considered to be implemented in this country. The main focus of this report is on how an increase in the demand for museum tickets will boost the economy of Romania, by allowing people to visit museums for free. Throughout the report, other examples of other countries such as the United Kingdom and Sweden will be used in order to explain how free admission to museums will have a positive impact on Romania as well.
...on. It is important to understand the history and mechanics of Greek architecture in order to fully appreciate it. The ancient Greeks were very well known for their beautiful temples. They were able to devise several different ways to create beautiful buildings and implement those designs. The ancient Greeks set the architectural foundations for the rest of the world with their three orders. The three styles, or orders, are the Doric, Ionic, and Corinthian. The three distinctive styles are referred to as orders because they display proportionate, ordered, and coordinated parts. The Doric, Ionic, and Corinthian orders serve a functional purpose, as well as lend so much beauty to structures. “All the world’s culture culminated in Greece, and Greece in Athens, all Athens in its Acropolis, all the Acropolis in the Parthenon” (Nardo, 61).
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.