Bernini’s Fountain of Four Rivers constructed from 1648 to 1651 in the Piazza Navona in Rome for Pope Innocent X. The whole building consisted of two parts: the horizontal fountain and the rising Egyptian obelisk. The massive fountain is made of travertine, supporting the four river gods above and also serving as the foundation of the obelisk. Danube represents Europe. The Ganges refers to the continent of Asia. The Río de la Plata represents America, the New World, and the Niles is Africa. A certain amount of the allegory and metaphors also surround the four river gods respectively. On the slim body of Roman made obelisk (Curran 284), hieroglyphics are displayed in sequential, and a dove and an olive branch, the pacific symbol of the Pamphili …show more content…
Río de la Plata is the mostly discussed one as the newly converted land. Meanwhile, the Ganges looks away from the light of the church because of his spiritual ignorance, and the head of the Niles is secretly covered, mainly owing to its unknown or uncertain sources to the churches at that time. The Danube is the only river god embracing the divine light with comfortable appearance among them. All of the three ancient river gods have positive or negative delineations of their western appearances in the new center of Rome, except the Niles. There are records claiming “the river’s efforts to remove the cloth will take as long as it takes for the accumulation of empirical evidence to ascertain the source of the Niles (San Juan 86)”. On the other hand, the pose of the Niles is also perceived as the influence of the magnetic force of the Roman copy of the Egyptian obelisk. Since both of the Niles and the obelisk are coming from the same area, how could they resist the existence of each other? …show more content…
The obelisks represent the divine sun god in Egypt. When they enter the Rome, they are forced to change themselves, as the four rivers have to take on the appearances of ancient river gods. The connotations of the obelisks have been drastically changed according to the willing of the Catholic Church, whereas the churches remain their previous out looking in Egypt. The obelisks in the Western now signify the supreme spiritual illumination of Christianity, rather than the sun god in Egypt. The churches were significantly pleased by the exotic appearance with Christian connotation of the obelisk, which exemplified their conquering on the foreign lands, instead of the Niles with ancient god appearance. On the contrary, compared with the other river gods, the ancient Egyptian river god does not even have a dignified face in Rome only because of its unknown origins to the churches. For the Western, Egyptian culture, to some extent, is one of the evidence proving their superiority in the seventeenth
which can be used as a river, and also attracts people as it can be
In conclusion, although Mycerinus and Kha-merer-nebty II and Augustus of Primaporta, do appear very different, come from entirely different geographic regions and were separated by thousands of years, they do have many things in common. When we consider subject, style, and function; perhaps other works of art have more in common than they appear to have.
The Ancient Middle East the Roman time periods brought about many different works of art. The Votive Statue of Gudea, an Ancient Near Eastern work, and the Augustus of Primaporta, a Roman work, are good representations of art from their respective time periods. The two works have many similarities and differences within their formal elements, iconography, and historical significance to the time periods in which they were crafted.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
The Head of Augustus, that is located in the Metropolitan Museum of Art, is a combination of Roman and Egyptian art. The Roman technique used to sculpt Augustus’ head is highly valued, but it is the Egyptian faience practice that makes this work of art significant. To best understand why this sculpture was created under the influence of these two cultures, a brief review of history is discussed.
Imagine you were the rose trying to grow in concrete; would you have made it out or die trying or maybe you just gave up. So think about it, what would you have really done? The poem “The Rose that Grew from Concrete” is about a rose that grew in concrete a metaphor that shows that you have to get past your problems to succeed. And the poem “Mother to Son” is about a mother explaining how hard life is a metaphor. Both poems share the theme of You have to rise above the obstacles, but the way the authors developed the theme was similar and different.
To some this story might seem like a tragedy, but to Christians this is a beautiful story. Although young Harry dies at the end, he is accepted into the kingdom of God, which is far superior to anything on Earth. A non-religious family raises him and the first taste of Christianity he gets makes him want to pursue God. In Flannery O’Conner’s short story, The River, the allure of Gods grace and the repelling of sinful ways are shown heavily through Harry.
The Annunciation is a Christian celebration of the iconic moment that the archangel Gabriel announced to the Virgin Mary that she would conceive and become the mother to the Son of God, Jesus. The story of the Annunciation derives chiefly from the biblical Gospel of Luke, and has been portrayed abundantly and variously in many visual art forms from the earliest centuries of Christianity and Christian iconography. This essay will explore the depiction of the Annunciation and symbolism in the period of the Italian Renaissance and pay particular attention towards the development of the focus on spiritualism towards naturalism through the refined language of expression and gesture from the 14th century to the late 15th century.
Castriota, David. The Ara Pacis Augustae and the imagery of abundance in later Greek and early Roman imperial art. Princeton, N.J.: Princeton University Press, 1995. (P. 64)
The primary function of monumental portraits in Ancient Rome was to honor political figures of power through repeating social and political themes. The Romans expressed these themes through a form of “realism”. Relics of this era were found depicting the elderly conservative nobility that lived through civil disruptions and war, elaborately individualized through detail of the face expression. Through the features of grimacing heaviness, wrinkles, and effects of old age, the Romans were able to express the reality of their political situation felt by the people whose faces were sculptured into stone. Furthermore, Nodelman discusses the use of sculpture portraits to depict the ideology behind Roman conservative aristocracy. Artists would portray the virtues of gravitas, dignities, and fides, through the use to physical expression and symbolic meaning, rather than through words. A statue of Augustus, for instance, displays the militaristic, powerful, godly perception of the conservative ideology through the use of symbolic detail. The decorative, rich, military outfit on Augustus, represents the power of the military and Augustus’s role as imperator in it. The freely held masculine arm and pointing gesture towards the horizon are Rome’s expanding dreams, clashing with the overall powerful and sturdy stance of the body. The bare feet bring about the impression
The sculpture of the nude man holding the lionesses shows how the revival of Greek trade brought influences of Near Eastern cultures to Greek civilization. The amphora that has the artwork of two separate artist’s shows how wine is an important trade good in Greek culture as well as the use of hoplite armies to obtain more land. The drinking cup also uses its imagery and color patterns to show how during the Archaic Age two Greek city-states battling over land was common, along with their use of well-equipped hoplite soldiers. From these Ancient Greek pieces, it is evident that the values of a culture are entwined with the type of art, which the artist of that culture
The Italian Architects of the seventeenth century faced a huge volume of orders to carry out. The most required orders were churches. (Bazin 15) When Urban VIII became pope he asked Bernini to design a baldachino, also known as a canopy, to define the altar area. Bernini built something that was half sculpture and half architecture that had four columns that were very detailed. The columns were designed with spiraling grooves and vines made of bronze. The spiraling and decorative effects were made to symbolize the union of the new and Old Testaments, the vine of the Eucharist climbing the columns of the temple of Solomon. The Eucharist was the Christian ceremony commemorating the Last Supper. The elements of the Ionic and Corinthian orders are at the top of the columns. Angels are along the entablatu...
Roman art was also deeply influenced by the art of the Hellenistic world, which had spread to southern Italy and Sicily through the Greek colonies there. The Etruscans and Babylonians can also be seen as inspirations. “With the founding of the Republic, the term Roman art was virtually synonymous with the art of the city of Rome, which still bore the stamp of its Etruscan art” (Honour and Fleming,1999). During the last two centuries, notably that of Greece, Roman art shook off its dependence on Etruscan art. In the last two centuries before Christ, a distinctive Roman manner of building, sculpting, and painting emerged. Indeed, because of the extraordinary geographical extent of the Roman Empire and the number of diverse populations encompassed within its boundaries, “the art and architecture of the Romans was always eclectic and is characterized by varying styles attributable to differing regional tastes and the...
The statue Augustus of Primaporta was not only used to convey the likeness of the Emperor Augustus to his people across the Roman Empire, it was also interspersed with symbols and messages about the ruler’s ideals and power. It was distributed throughout the empire as propaganda for Augustus and as a declaration of the new era he intended to bring about. This strategic imagery and its successfulness in conveying the greatness of its commissioner influenced many successive leaders around the world to command similarly symbolic likenesses to be made of themselves, such as Trajan in the second century CE.
The artistic inheritance of the west is strongly identified with Catholic images that were brought upon heavily by the Church’s influence. The eighth and ninth centuries witnessed the growth of a destructive heresy called iconoclasm. Iconoclasm rejected the veneration of images of religious figures, and went as far as to reject the depiction of Christ and the saints in art at all. (115) This idea however, could not take hold, since it ran directly counter to the Catholic understanding of and appreciation for the created world. Woods provides this information to describe the influence and importance of the church in artwork, in which, as I strongly agree, sparked a period that created beautiful paintings, sculptures, stained glass, and illuminated manuscripts; which were major parts during the growth of Western civilization. Theologians referred to Catholic theological in defense of art that depicted Christ, the saints, and the religious scenes that have defined so much of Western artistic life, and broadly, Western Civilization. Woods is describing the influence of the Church, overcoming iconoclasm and having an enormous influence on the arts, which sparked the g...