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Ap art history flashcards early christian
The role of art in christianity
The role of art in christianity
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Whether or not we notice it, Art is always around. It can come in the form of a beautiful painting in the Smithsonian Museum, a sculpture by Michelangelo, or as graffiti on the wall. Whatever the form, art is always present. Additionally, art is not new; for as long as there have been people, there has been art. Though rare, early Christian art manages to express, in picture form, a story from the bible. One piece, which was actual a mural painted in the fourth century, on walls of the mausoleum of Galla Placidia in Raveena, Italy, depicts Christ teaching his apostles. Just a few miles away in a Vatican City museum is a statue from the third century which also depicts Christ as the Good Shepherd.
The artists who crafted these works of art shared a common theme, which was Christ, but they tell a different part of the story; the mosaic shows how the sheep view Christ, while the statue tells how Christ searches for the lost sheep.
According to the text in the book “Culture and Values: A Survey of Humanities” the statue, which was quite rare before the fourth century, is a classic Greaco-Roman depiction of Christ as the Good Shepherd (142). This statue, unlike the mosaic by the same name, only shows a single sheep, the lost sheep which Christ seeks out. In the parable from Luke 15 vs 3-7, Christ reveals that a good Shepherd will, if losing one sheep, he drops everything to find that one sheep. The Statue is a literal depiction of the good shepherd searching for his lost sheep. The mosaic, on the other hand, does not show Christ searching for his flock, but rather it shows his flock calm and secure in his presences. They are at rest and at peace, and all are gazing at their master. The statue, much like the mosaic...
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...osaic expresses the peace that the flock has with the shepherd, while the statue expresses the shepherd searching for his lost sheep. Their purpose is the same, to share one particular part of the parable that Christ told about in Luke, and despite various years separating the works, their message is still as clear today as it was then; Christ is The Good Shepherd.
Works Cited
Melina, Remy. “Why Is the Color Purple Associated with Royalty?” 2011, June 03. 2011, Sept 10.
Sacred-Destinations.com. “Mausoleum of Galla Placida, Revenna”. 2009, Dec 16. 2011, Sept 10.
Bromiley, Geoffrey William, Fredrich, Gerhard, Kittel, Gerhard. “Theological Dictionary of the New Testament.” Struttgart, Germany. W. Kohlhammer Verlag. 1995. Print.
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
Both sculptures represent Mary holding the dead body of Jesus. According to our textbook, “This figure group represented a challenge for sculptors, because the body of the adult Christ had to be positioned across his mother’s lap,” (139). Both of the sculptures were created through carving. This is a “subtractive process in which a block of material is cut away to reveal the desired form,” (Carving).
Both pieces to me seem to represent godlike features. For example, in the palette the king is shown as larger than his enemies and in the stele the king is standing over the people and is much higher than them. As rulers, they are both depicted as strong and heroic and as humans, they are depicted as
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Both of these pieces of art have much in common. Their functions are almost identical. Both were used to mark burial sites and to honor the deceased buried there. The body language of both the pieces’ figures are similar, with one seated and several others standing around them. Neither has color, but unlike the grave stele, the funerary banquet does show some degree of emotion. The figures in the banquet scene have slight smiles. These pieces played an important role in their times, honoring those who had passed on to the afterlife. For both of these people, it was important to memorialize them very similar to our practices today.
Art was a major area of achievement within the Byzantine Empire, and in no other area was more accomplished than in the creation of Christian inspired art. A fine example is the renowned 8th century piece, the Crucifixion of Christ, a piece that aims to display Christ as a royal figure, but also depicts his suffering and aids in teaching the central truth of Christianity; something dearly important to the Byzantine's.i In the St. Catherine monastery in Ravenna, monks painted stunning icons and mosaics such as the icon of Christ. In 867 CE, the Patriarch Photius installed a grand mosaic of Mary and Jesus within the Hagia Sophia. This mosaic remains important as one of the two dominant depictions of Mary and Jesus throughout the rest of history. Though the Byzantine's most famous works were inspired by Christianit...
If you were to look at the Calf-Bearer and the Good Shepherd, you would immediately be able to point out some similarities. They have the same form and both figures are carrying a lamb on their shoulders. These qualities alone make the connection between these two statues ,and the influence of ancient Greek art on early Christian art, unarguable. However, by truly scrutinizing each facet of these two sculptures, one can see in detail the exact characteristics that have been carried over from the classical Greek art to the more modern Christian art.
Firstly, the mural’s left bottom section, one can see the various hierarchy figures of the Medieval church society surrounding the pope, the symbol of the church, who seated at the center of the basilica which appears to be the cathedral — Cattedrale di Santa Maria del Fiore — of Florence. To the left side of him, the Dominican(a cardinal), a bishop and Holly Roman Emperor seated at the right side of him. The Dominicans, who appear in many figures in this fresco, represent themselves visually all the time as the hounds of God since the name of Dominican in Italy means ‘dogs(canes) of the Lord(Domini)’. It is depicted as white and black dogs, reflecting Dominican attire, in front of the church guarding the sheep as a role of the shepherds, symbolizing God’s protection of humankind. On the right side of
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