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The place of art in religion
Robert Browning life and work
Art perception essay
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A great number of works of art, it is universally claimed, are aesthetically precious. Some philosophers have even argued that providing an aesthetically pleasing experience is their only proper function. The truth is that some of these artworks display or invite us to adopt an immoral point of view. Even worse, they even seem to make immoral situations delightful and appealing. Two of Robert Browning’s dramatic monologue, ‘Fra Lippo Lippi’ and ‘Andréa del Sarto’ show two perspectives of artist’s life and their way of looking at it. Robert Browning’s Fra Lippo Lippi, as recognized by its misbalance between understanding and conclusion, is a mark that it imitates not life but a particular perception towards life, somebody's experience of it. …show more content…
While he also discloses that he at times doubt whether he is right or the Church, but when he paints, he claims, he always remembers the God of Genesis, creating Eve in the Garden of Eden. The flesh that was made by God cannot be evil. Realistic paintings essentially draw the attention of human beings to real life beauty that they might or else overlook. With this technique, too, the artist causes human beings to admire their Maker. It could be said that artistic value and moral value belong to two different realms. Artistic value relates to the work, moral value to man. The sins of men can be the subject-matter of a work of art, from them art can draw aesthetic beauty. The experience of moral evil can even contribute to feed the virtue of art. As Robert Browning suggest in Fra Lippo Lippi that church principle convert art into propaganda rather than artistic expression. These devotional works do not endorse a critical knowledge of life because the friars forces Lippo Lippi to construct idealize image of life, saying that art must portray God¹s desires rather than human …show more content…
According to this theory the artist may or should depict what is true to life, what really is, what is beautiful and therefore pleases him, or even what may be useful as material for ‘science'; but that to care about what is moral or immoral, right or wrong, is not an artist’s business.” (5) A religious picture could be exceptionally painted, but it may need relation of the artist to his matter if he is shown the boundaries or limitations his business is to represent life as his passion for life is
...t would help bring into understandable light the mystery of the Church’s teachings. Finally, achievements in re-creating human emotion would ensure the painting’s, and therefore the Church’s teachings would leave an indelible mark on all of its viewers.
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
The painter has his own set of beliefs. He believes that the world is in need of mess rather than this “order” that is created by the
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
The author establishes four rules for developing a Christian approach to the arts: the first is God both gifts artists and calls them to create, the second is that God loves art of all mediums, the third is that God has high standards for truth and beauty, and the last is that
that draws the strongest contrast. When I see his painting, I see someone that is trying to express
“The aim of art is to represent not the outward appearance of things, but their inward significance,” –Aristotle
Perspective is based on Jesus in this painting due to his outward “radiant glow of divine light” (1) extending to the other people in the painting. The main focus is on Jesus and the rest of the figures are diffused in an outward fashion from Jesus himself. The artist himself expresses an emphasis on individualism by implementing himself within the painting by appearing “twice in the Last Judgement: in the flayed skin which Saint Bartholomew is carrying in his left hand, and the figure… who is looking encouragingly at those rising from their graves” (2). This is an action that only a Renaissance painter would do, which is displaying individuality through a self-portrait because of the possibility of being judged for selfishness. Light and shadowing is prominent within the art which is shown in the painting when the lighter, more brighter colors are focused in the middle and then fade into darker tones while moving outward into the
Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).
When the religious art leaks out of the religious community and into the broader world of culture, it is one of the ways the meaning of the art can evolve. This is also an opportunity for the art to draw the world to religion. Moreover, artistic reinterpretation of sacred imagery can help keep religion honest. The church has always been enriched by the tension that comes with diversity in art. Art is communication and effective art communicates effectively to any group at any level.
Art is a different area of knowledge from the natural sciences because we know and gain knowledge mostly through sense perception, language and emotion. In the arts, most controversial arts are due to its content, not the methods used in producing it. Damien Hirst is an example of how the methods in the production of knowledge is limited because of ethical judgments. Hirst’s art : “The Physical Impossibility of Death in the Mind of Someone Living” (1991) was made from a tiger shark preserved in formaldehyde. This tiger shark was killed purposely for this work. This shows that in the subjective world of the arts, ethical judgements may create criticism about the methods used in producing the art, but does not stop the production of knowledge. In the art world, most knowledge are created by creating the art itself. This growing criticism of Hirst’s work may limit the methods Hirst uses to create his art because if the society...
Robert Browning’s 19th-century poem entitled “Fra Lippo Lippi” centers thematically around the discussion of art. Fra Lippo Lippi is a 15th-century monk and artist whom engages in a dramatic monologue with the law. As an unreliable narrator, he reveals things about himself and those around him that perhaps he is unaware of revealing. Fra Lippo Lippi expects that his behavior is seen as wrong but dismisses it with his poetic narrative of how life has tried to shape his art, imprisoning his God-given eye. As the verse unfolds the silent audience is acquainted with the aesthetic theories of the Prior and of Fra Lippo Lippi. Fra Lippo Lippi states the artist can capture what the normal eye would not as he frames reality; the gaze of art can serve the soul in reaching a more righteous being. The role of the artist and of his art are in battle with the body and soul as seen through the struggles of the Prior and Fra Lippo Lippi’s opposing aesthetic theories.
Based on this creator-centric definition, one may claim that art is purely a form of individual expression, and therefore creation of art should not be hindered by ethical consideration. Tattoos as pieces of artwork offer a great example of this issue. However, one may take it from the viewer’s perspective and claim that because art heavily involves emotion and the response of a community after viewing it, the message behind what is being presented is what should actually be judged. To what extent do ethical judgements limit the way the arts are created?... ...
I argue for an interpretation of Kant's aesthetics whereby the experience of the beautiful plays the same functional role in the invisible church of natural religion as Scripture does for the visible churches of ecclesiastical religions. Thus, I contend, the links that Kant himself implies between the aesthetic and the moral (in the third Critique and the Religion) are much stronger than generally portrayed by commentators. Indeed, for Kant, experience of the beautiful may be necessary in order to found what Kant views as the final end of morality — the ethical community — since human moral psychology requires embodiments of moral ideas. Finally, I seek to modify Martha Nussbaums' argument in Poetic Justice (1995) for the increased use of the literary imagination as a means for improving public moral reasoning in this country, with the Kantian insight that aesthetic autonomy is the key to any aesthetic-moral link.
Ethics is the study of moral values and the principles we use to evaluate actions. Ethical concerns can sometimes stand as a barrier to the development of the arts and the natural sciences. They hinder the process of scientific research and the production of art, preventing us from arriving at knowledge. This raises the knowledge issues of: To what extent do moral values confine the production of knowledge in the arts, and to what extent are the ways of achieving scientific development limited due to ethical concerns? The two main ways of knowing used to produce ethical judgements are reason, the power of the mind to form judgements logically , and emotion, our instinctive feelings . I will explore their applications in various ethical controversies in science and arts as well as the implications of morals in these two areas of knowledge.