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Religious aspects of art
Religious aspects of art
Religious aspects of art
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The Rain Baby
The Olmec was the first expansive Mesoamerican society, laying many of the foundations for succeeding civilizations that followed. In addition to the Olmecs’ impressive socio-cultural advances, artistic advances placed the culture as a strong force in Mesoamerican history. Olmec artworks are considered among some of ancient America's most striking due to their high level of stylization and technical advances. In addition to Olmec artistic advances, the Olmecs did codify and record their gods and religious practices using art and glyphic symbols, embodying the characteristics of a highly developed society. Furthermore, each image created served a cultural purpose, either personally or publically for members of the society.. In Seated Bench Figure, a more personal approach to Olmec art making occurs, showcasing an adult holding an infant created in the were-jaguar style.
In the sculpture Seated Bench Figure, a figurine sitting with a small, childlike figure situated on its lap is presented. Created during the Formative Period in the Olmec culture, the statue stands at just under five inches tall and three inches wide, eliciting intimacy between the viewer and figurine. More so, Seated Bench Figure allows the viewer to consider that both figures are important in Olmec culture because of both figures’ relaxed stances and the utilization of a precious green stone. The stone that Seated Bench Figure is made out of, serpentine was regarded as a precious, divine media within Olmec culture. Additionally, resting stances in figurative Olmec aesthetic tradition indicate respected, elite, and potentially godly individuals. The seated stance of the larger figure on a bench, supporting the infant-like form, indicates both...
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...es, indicating a divine presence within the sculptures.
In Seated Bench Figure, Olmec stylization and culture are epitomized. This statue reveals a fantastic anthropomorphic creature using iconography reflective of a religious meaning. The cultural allegory presented because of the anthropomorphic were-jaguar illustrates Olmec beliefs-in particular, the Rain Baby. The codification of Olmec society through art showcased the richness of Olmec aesthetic tradition, allowing viewers to experience Olmec beliefs, social constructs, and crafts.
Bibliography
Miller, Mary Ellen. The art of Mesoamerica: from Olmec to Aztec. 4th ed. London: Thames & Hudson, 2001.
Miller, Mary Ellen, and Karl A. Taube. The Gods and Symbols of Ancient Mexico and the Maya: an Illustrated Dictionary of Mesoamerican Religion. New York: Thames and Hudson, 1993.
Inga Clendinnen's Aztecs:An Interpretation is an outstanding book dealing with investigations into how the Mexica peoples may have veiwed the world in which they lived. From the daily life of a commoner to the explosively, awe inspiring lives of the priests and warriors. Clendinnen has used thoughtful insights and a fresh perspective that will have general readers and specialist readers alike engaged in a powerful and elegantly written interpretation that is hard to put down without reflection upon this lost culture.
8. Meyer, Michael C., et al. The Course of Mexican History, 7th ed. New York: Oxford University Press, 2003.
Jacques Lafaye, a French historian, published a study pertaining to the intellectual history of New Spain and its development of a national consciousness that would facilitate a move towards independence. Lafaye takes a unique approach of examining the formation of Mexico’s national conciseness by pointing to the importance of religious thought in that process. In this ethnohistorical study the author pays special attention to the interaction of Iberian Christianity and Aztec belief system in New Spain. Through careful analysis the author confronts the merging of these two faiths and their role in the transition from the Aztec world to independent Mexico. Lafaye specifically alludes to the syncretic nature of St.Thomas-Quetzalcoatl and Guadalupe-Tonantzin
The Aztec Calendar stone has become one Mexico’s national symbols. After decades of Latin American Art being degraded, underappreciated, forgotten, and abused, it has become one of Mexico’s most national treasures. After years of research from the Codex Mendoza, the Calendar, and documents by the Spanish conquistadors, it has gradually become clear as to how the Aztecs truly lived and how art played such a huge role in their society. It has not only given researchers insight to the Aztec culture and religion and has also given influence to modern and the mainstream media today such as fashion and graphic design.
Wheelwright, M. (1942). Navajo Creation Myth. Navajo Religion Series, Vol. 1. Santa Fe: Museum of Navajo Ceremonial Art.
Mexicans, as constructed by Menchaca, are a predominantly mestizo population whose mixed ancestry she traces to early Latin American civilizations. In 200 BC the largest city in the Americas, Teotihuacán, was founded. Teotihuacán would one day be the site of Mexico City, and by 650 AD there were between 120,000 and 250,000 inhabitants. (2) Groups that inhabited the region fro...
Architecture, like many things, can also be made for the use of or inspired by the symbols people believe in. Therefore, art and architecture in Ancient Mesoamerica can be stated to be made for the use of religious symbols. Making architecture and art forms takes effort, dedication, and patience. Architecture can take years to make, as was s...
The works of art from the Archaic Period, Classical Period, and Hellenic Period developed physically and mentally, and the study of their aesthetic differences from period to period allow for a decided contrast and comparability. This interpretation has had a profound effect on the art world and that continues even in today’s world. The importance of Greek sculptures is evident in the storytelling of the gods, the people, and the culture. We use these sculptures as a tool to go back into the past of the Greek people, letting us admire how far mankind has truly come, whether it is in art or intelligence. Generation after generation has been and will continue to be able to see for themselves the society, culture and uniqueness of these periods through the wonderful sculptures that came out of ancient
Edu/LA260/Aztecs.htm> Benson, Sonia. The “Aztec Religion” Culture, and Daily Life.” Early Civilizations in the Americas: Almanac Vol.2.Ed. Deborah J. Baker, Ph.D. Michigan: Farmington Hills, 501-527. Print.
Both the Spaniards and Aztecs reinvestigated their religions as a result of their encounter and conquest. Understanding the context of both the Spanish and Aztec cultures before their encounter and conquest is important to understanding the events of the conquest. This also sheds light on how both the Spanish and Aztecs learned about each other. They attempted to reflect frameworks from their own cultures onto the new one;
The Olmecs are the earliest known Mesoamerican civilization. Around 1200 B.C. the Olmecs originated as a primitive people living and farming on the shores of Mexico (Stanton 91). Soon, however, they began to build cities such as San Lorenzo, La Venta, and Monte Alban. These “cities” were religious centers where people gathered to worship, and were not populated (Stanton 91). The first of these centers, San Lorenzo, was built c. 1150 B.C., on a flat topped, man-made mountain. It was mysteriously abandoned 200 years later (Stanton 92-93). La Venta, built between 1000 and 600 B.C., sat on an island in a swamp (Stanton 93). Later, around 500 B.C., Monte Alban, which was used as a religious center even after the Olmecs faded, was built on an immense mountain (Stanton 93). The cities were made up of temples and plazas, and decorated by monumental stone heads, which weighed up to 50 tons (Stanton 93)! These heads probably represented their early kings and had distinct helmets (Kingfisher 32). It is incredible how the Olmec people transported the stone from the distant mountains to La Venta, near the shore, without the aid of work animals or carts. It appears that the Olmecs did this grueling work for their gods willingly, as there is no evidence of forced labor (Stanton 93). The Olmecs probably worshipped the jaguar, as it appears so often in their artwork. There are also many e...
Taube, Karl. “The major Gods of Ancient Yucatan.” Studies in Pre-Columbian Art & Archaeology 32 (1992): 11-27. Print.
International Congress of Mexican History. Contemporary Mexico: Papers of the IV International Congress of Mexican History. Berkley, University of California Press, 1976
Palfrey, Dale Hoyt. "The Classic Period, Part 3 of 3-The Maya." Mexico Connect. *http://www.mexconnect.com/mex_/hclassic3.html* (3 Feb. 2001).
Lets start in the Formative period, the beginning. Between 1800 BCE and 200 BCE the Olmec empire was one of the leading powers of Mesoamerica. The Olmecs believed that humans transformed or evolved from Jaguars (Carrasco, 32). They believed there was a strong connection between all animals and people. Many of their temples and rituals were designed to praise or show acknowledgement of different animals. That is how they viewed the make up of their society, or how it came to be. The Olmecs also had a very big concern for burying their dead near their sacred areas. According to Carrasco, “this combination of human and temple at the heart of a settlement indicates the early pattern of what we have called world centering” (Carrasco, 34). This shows they believed there was a strong connection between sacred spaces, ceremonial structures, the earth, the dead, and the underworld. Their calendar system called the long count, was a huge part of organizing rituals and social life in Mesoamerica. They also had a sacred ball game that was very influential to their culture. It was more of a ritual than a game, being that, in some cases, the losing team would be sacrificed to the gods (Carrasco, 36). They believed that using these things would maintain order in their