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Influence of the Renaissance
Rome and the roman empireessays
Renaissance and its effect
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The head of Emperor Constantine was created between 337 and 340 during the early Byzantine period. It has an overall dimension of 27 x 17.5 x 18.8 cm, which makes it a life-sized head sculpture. According to historians, “Constantine won the decisive battle over the larger army of Maxentius through the miraculous intervention of the Christian God” (Snyder,2006, p.17). The marble sculpture represents the first Christian Roman emperor, Constantine the Great. Marble is more expensive than quartz and granite. Also, it’s heavy and dense material makes it difficult for transportation. We can automatically conclude that this sculpture symbolizes wealth and status. Constantine is known for using art to reinforce his power and authority throughout the Roman Empire and early Byzantine period. For this reason, Constantine associated his glory and victories with past Roman emperors such as Trajan and Augustus.
The use of political propaganda in this artwork is strongly significant. The imperial crown
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The eyes completely avoid contact with the viewer, creating a sense of ambiguity and power. Many believe that Constantine is staring at the Christian God, therefore, showing his faith and acknowledging God as his protector. The concept of the eyes is particularly symbolic when speaking about Christianity because Jesus believed that light and eyes were the windows to the soul. It also represents the style characterized by Byzantine art accurately due to it’s intense religious theme and expression. In addition, Constantine played a significant role in decriminalizing Christianity during the Edict of Milan in 313. He allowed Christians to practice the religion overtly without any persecution. Thus, we can conclude that the raised eyes portrayed in the artwork are an indication of divine
Diocletian and Constantine had policies that were similar yet different in many ways. Diocletian ruled from 284-305 A.D. During his time as emperor, he divided the empire into four prefectures. This also separated the Roman Empire into east and west. The west was known as the Western Roman Empire and the east was known as the Eastern Roman Empire. Diocletian did not allow Christians in his empire and therefore persecuted them.
The marble Statuette of Youthful Dionysos stands about 30 inches tall. The arms, legs, nose, and
Although each imperial relief may differ, there are organized central motifs which surround them. These themes include: “pietas in the scenes of sacrifice, clementia in the scenes of pardon, extended to supplicating barbarians, virtus in the scenes of military conquest, concordia in the scenes of address and counsel” –Nodelman, p19, which are the common criteria upon which a emperor is fit to rule.
Sculpture is a medium that artists in ancient Greek commonly used to express spoken truths in an unspoken form. Every piece of ancient Greek sculpture has more than what the eye sees to explain the story behind the [in this case] marble.
And just like the Greek the statue are both big and almost human size. A great example of this is the “Augustus of Primaporta, 1st century C.E. (Vatican Museums).” It truly shows the evolution of art sculpting. It is a full size very detailed sculpture of Augustus. It very detailed from his hair showing every curl and split to the small details in his armor that also depicts a story as well is shows the god of the sky looking down on him and the goddess of the earth looking up towards him as they watch the Parthians surrender to him and returning the standards shows the great power that Augustus has, and not just that but also the sculpture itself is a symbol for how Augustus wanted everyone to see him as, as god like. And it even has a little small cupid on the side which is also detailed which shows that Augusts is decedent from a
This sculpture is quite spectacular. According to the display plaque, the sculpture shows four events happening all at once. On the far left is St. Peter who has just cut off the ear of Malchus (the servant of the high priest and seated in front of St. Peter) is "sheathing" his sword. He seems to be very content with what he has just done, but then if you look closely at the right side of Malchus' head, you can see a hand holding his ear. That seems to be Ch...
The statue is made of marble, instead of the bronze statue. This statue is one of the earliest marble statues of a human figure carved in Attica. The statue is a kind of symbol; he does not in any way a likeness. This is my first expression when I saw the statue: the statue is showing me a simple, clear action that was used by Greek youth sculptures throughout this period. Looking at this statue, he expanded into 3D space, because he is standing straight and facing forward without any exaggerated movements, thus the post makes him look closed-off and a column his limbs are locked in space. Therefore, the standing posture, the decorations on his body, his hair and knee’s texture and how the Egyptians impact Greek art, is what makes me interested in it. A question that has always been in my mind is
Constantine lived from 280-337 CE, and in 312 CE moved his army in on Rome and began his powerful uprising in the Mediterranean. Constantine looked to God in all his battles and it was said that he once saw an emblem and was told to put the symbol on his shield i...
Gaius Flavius Valerius Aurelius Constantinus, or Constantine, is commonly referred to as the fist Christian emperor of the Roman Empire and as the defender of Christianity. Such grand titles are not necessarily due for the reasons that people commonly think of them today.
The Column of Antoninus Pius was a Roman triumphal column dedicated to honor the Roman emperor Antoninus Pius and his wife Faustina the Elder by his successors, co-emperors Marcus Aurelius and Lucius Verus, in 161 A.D. The column alone was 14.75 meters high and 1.90 meters in diameter, which was composed, of red granite, with no reliefs on the column like other triumphal columns such as those of Trajan and Marcus Aurelius. The column itself has been lost to history, however the base expresses iconography that art historians are still studying and interpreting today. The main components of the base of the column contain two funerary decursio sides, and the depiction of the apotheosis of Antoninus Pius and Faustina the Elder, the decursio and apotheosis depict two separate but equally important styles and motifs.
I chose this sculpture because I was intrigued by the position of the man and the centaur. I was able to witness that the centaur is trying to invade the personal space of the man. The sculpture showed me that there is a strong relationship between man and creature. The quality of the sculpture made me realize that animals play a big part of a human’s life and can be seen as threatening to humans. It was interesting to see that both the man and centaur were created to have almost of the same structures. This statue has a metallic brown and green, bronze tone and appeared undersized. It has a height of four and a half feet, and six inches. It has long, thin, legs with calf muscles, and bulging thighs. The sculpture evolved from Olympia, Greece. The man and centaur sculpture was created in 750 BCE during an orderly time period. The colors used for this sculpture, proved that it has a longer lasting mold for statues. On the left side of the sculpture, the man has a wrap on his head, that can symbolize, he is some form of a god. On the right side, the centaur has the same head piece as the man, but the body of a horse. It can be seen that the man and
Justinian was one of the most influential rulers of Byzantium. When he came into power in 527 AD, he inherited a civilization in disarray. Justinian had a positive impact on the Byzantine Empire. Most notably, he introduced an improved set of laws and conquered many surrounding nations, nearly restoring the former glory of the Roman Empire. In addition to these contributions, Justinian also made advances with the Christian Church and Byzantine architecture.
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
By 313 A.D., Constantine had donated the property of Lateran, where a new cathedral, the Basilica Constantiniana was soon built, to the bishop of Rome. Constantine had an arch erected in his honour at Rome after the defeat of Maxentius, ascribed the victory to the “inspiration of the Divinity”. After his victory over Licinius in 324, Constantine wrote that he had come from the farthest shores of Britain as God’s chosen instrument for the suppression of impiety. Later, in a letter he proclaimed that he had come to bring peace and prosperity to all lands, with the help of God.
It’s been “concluded” that the scultpure was made in Rhodes because many artists there had specialized in marble, but there is no clear evidence of this claim. The exact date of when this statue was produced is also unknown, but many believe that the artist worked on the “Winged Victory” “between 220 and 185 BC” (Musée Du Louvre). Samothrace is known as the Goddess of Victory, and so she stands as also a figure of victory and a statue of her is seen as a monument of protection and good luck when it came to war. It’s been said that the sculpture was built as a monument and an “offering”, meant to be a “religious act in honor” of the Gods of fertility (Louvre Museum). Although others have suggested that the monument is also dedicated to the Rhodians “in commemoration of a specific naval victory” after they won a large sea battle in Myonnisos in 190 BC.