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Symbolism in dante's inferno
Symbolism in inferno
Symbolism in dante's inferno
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When exhibitors gaze at Inferno, an intriguing video piece by Israeli-born artist, Yael Bartana which illustrates labyrinthine complexities of Neo-Christian movements in Brazil, responses were quickly aroused. The atmosphere expresses a political concern of complex personality of religion in modern era exposing desecration of temple debris which is used as one’s pleasure for economic gain. Although the ruins are only a fragment of the ancient temple, however the implication of native’s belief are still remains strong, despite all the drawbacks. The opening scene opens up with the cityscape of Sao Paulo followed by an aerial scene of a gigantic Menorah, an Ark of Covenant and a Golden Altar transported by three helicopters. Continually, residents are dressed up in white adorned with flowers cheering on the arrival of the golden relics and begin to parade to the Holy temple to attend a mass. Some are also gathered in a large stage, dancing in a circle, praying and praising before cruising to the House of God. Comparably, in the futuristic scenes pilgrims are still dressed-up in white while doing their prayers. Moreover, menorah image is still a part of Jewish identity, as evidenced in T-shirts, plates and candles with menorah’s graphic symbol which sell by natives. As a matter of fact, the traditions persist through age. Continually, in the sermon within the synagogue, whilst the devotees are preoccupied with their Hebrew mourning prayer, the temple suddenly starts imploding. A chaotic series of stampede of one’s fleeing; wounded masses and death amongst man and children are immensely intense. Dramatically, Bartana’s overhead shots portray God’s unmerciful act to the viewers, follows by stormy fire effects throughout the tragedy... ... middle of paper ... ...tly challenge the general consciousness that is bred by her homeland country of Israel, exploring a complicated issue of social and political relationships among Jews. Her films often integrate clashing geographical arrangement within past and future and never fails to harmonise interesting outcomes. In this present work, she employs fact and fiction, prophesy and history of the temple and raising a question of the Jewish identity about the displacement of New Jerusalem outside the Holy Land. Inferno is showing in Building 6 on the upper side of Cockatoo Island as a part of 19th Biennale of Sydney. This 22 minutes video is presented cinematically in dark gallery with a roaring back-sound of Avinu Malkeinu, a Jewish prayer. A beautiful compound of large format video and surround angelic Hebrew song are captivating and also emphasizing the dramatic shots of each scene.
The most bizarre aspect after walking into the Jewish service was the clothing being worn by most individuals. Most individuals were wearing a scarf-type piece of clothing as well as little round hats on their he...
When the world was created there was chaos, that chaos has since persisted throughout the course of human history. In Giuseppe Piamontini’s twin pieces, The Fall of Giants and The Massacre of Innocents, he shows two pivotal moments in human history that have forever shaped society through a single action: the creation of the religious world. The use of cold dark bronze in these works helps display the gloom and terror of the scenes. While the intense detailed expressions on the characters faces conveys their horror, grief, or insatiable lust for violence. Piamontini does a fantastic job showing these violent beginnings will have violent ends, there is no escaping it as the cycle will always repeat.
...ligious life of the town of San Miguel and construction of its main temple which from 1872 he was raised to parish. But like everyone, this temple of the Holy Trinity underwent several transformations, for example: in the first decades of the 19th century was built the current altar; and from 1881 to 1897 he received major improvements, like the composure of the entire building, the purchase of pictures, furniture and several sacred ornaments as well as the construction of the chapels of the Tabernacle and Nuestra Señora de la Soledad and the arches of the entrance to the former chapel of the Entombment of Christ and the old sacristy; the most recent improvement was made in the last years of the 20th century, and which involved the National Institute of anthropology and history, the Government of the State and the father Carlos Cabrero, responsible for the parish.
The study of religion is often a rigorous process because the central tenets of the subject: image, ritual, and myth are often copious in their complexity. For example, consider the multiple meanings that are inherent in the image of a crucifix. Some Christians might view it as an image of suffering, whilst others would reject that notion and instead perceive it to be one of love. These differences may seem inconsequential at first, but they can overtime shape the beliefs of an individual and by extension a community. To understand this dynamic better one only has to analyze the Christo Aparecido (Christ Appeared), an authentic Mexican crucifix with a fascinating history from the colonial era to the present. This history is made known by the text, Biography of a Mexican Crucifix: Lived Religion and Local Faith from the Conquest to the Present by Jennifer Hughes, from which I contend that over the life of the Christo Aparecido there continues to be an understanding among devotees that this crucifix is sacred because it displays animus while being a vestige for the sacred to occupy. To support my position I will attempt to relate the moments where the Christo Aparecido is said to show signs of life, in particular his stay in Mexico City during the colonial era and his role in more modern times with rival groups clashing over its efficacy in the village of Totolapan.
In Miguel de Unamuno’s novella San Manuel Bueno, Martyr, readers learn about the life of Don Manuel, a Catholic priest secretly holding atheist beliefs and doubts in the afterlife. Despite these disbeliefs, Don Manuel works tirelessly to help his community and is regarded as a saint by all who meet him, hence the handle “San Manuel,” which literally translates to “Saint Manuel.” Don Manuel’s struggle and affiliation with sainthood receives further analysis and context from Francisco LaRubia-Prado, who parallels Unamuno’s novella to elements of Greek Tragedy and heroism. Drawing from Unamuno’s background with Ancient Greek playwriting and Sigmund Freud’s Totem and Taboo, LaRubia-Prado argues that Don Manuel should be seen as a representation of Christ and must suffer in silence in order to play the role of the dying, tragic hero that saves the
Gentileschi’s Judith Slaying Holofernes epitomizes the style of artwork during the Italian Baroque era. By using a Catholic subject and key elements and techniques essential to baroque art such as chiaroscuro and foreshortening, she was able to create a piece that gushes drama and realism. Without the use of all of these elements the effect would be lost, but instead the piece is one that moves the viewer with its direct and gritty realism of the religious subject, evoking emotion in a way that leaves the viewer in awe.
...ere watching the actual God. In this work, the events and nouns in nature symbolize the presence of God; whether it is beautiful and giving such as the pear tree, or destructive and vengeful such as the hurricane. Many events of the book revolve around the weather and the climate, the seasons, and it shows that religion is open-minded, and that it can be interpreted in many different forms.
The Ghetto’s Fighter House Institution is located outside of Akko, Israel. This institution includes Jewish artworks, photographs, and writin...
My theme of my visual essay is the Dome of the Rock and the controversy that surrounds it. The images for my visual essay are arranged in the order through which I plan to write my final research paper. The Dome of the rock is a 7th century building located in Jerusalem at the visual center of a platform known as the Temple Mount (which is illustrated in the first image). The name of the original sponsor of the building was Umayyad caliph ‘Abd al-Malik in 691 C.E. (Grabar, The Dome of the Rock 62). The second image is intended to aid in the visualization of the Dome of the Rock, not as a mosque, but rather an Islamic shrine that was built over a sacred site. However, exactly which sacred site it is, is still up for debate. Three different religious traditions have significance associated with this site. I am curious to examine how the significance of the Dome of the Rock for each religious tradition effects how it is portrayed in religious art.
The Story of Christianity is a very informative summation; a continuation of Volume 1 which covered the beginning of the church up to the Protestant Reformation, while Vol. 2 dealt with the Protestant Reformation up to more modern time period. This author delivers a more comprehensive and deeper look into the development of Christianity, which includes particular events which had transpired throughout the world; particularly how Christianity has expanded into Central and South America. Gonzalez opens up this book with the “Call for Reformation,” where he shares with his readers the need for reform; the papacy had started to decline and was corrupt, in addition to the Great Schism, which had further weakened the papacy (p.8). The author explains how the church was not the only issue but that the church’s teachings were off track as well, seeing that the people had deviated from...
The titular altarpiece of “St.Paul Shipwrecked”, was commissioned by a very noble woman from Rabat; 'Guzmana Novarra’¹. The subject matter of the painting is when St.Paul together with 276 people in addition with the centurion and the soldiers were on their way to Rome, as for St.Paul to be persecuted ,since he was a Christian (2). On the 14th night of their journey they realized th...
In The Sacred & The Profane: A Nature of Religion, Mircea Eliade attempts to define the sacred by stating it is “the opposite of the profane” (pg. 10). Through out the book he tries to explain this statement through the concept of hierophany (the idea that one can experience, sensorily, the manifestation of the holy/sacred), however his main explanation of the sacred being “the opposite of the profane” is the comparison of a modern religious man and a modern non-religious man (a profane man). Eliade compares the two by explaining how each would react to space, time, nature, and life. This essay will explain the idea of sacred space, how a religious and a profane man would experience it, and how the idea of sacred space might be applied to the study of medieval art and architecture.
...tures are built in the attempt to be noticed for their cultural significance but not as a main religious gathering place, and they both have spacious ambulatories for flow of spectators. Now in contrast of the two monuments, the pair have differences in their imagery, exterior as well as added spacing. The Dome of the Rock has mosaics on its exterior and interior and the mosaics are non representational. The overall shape of the temple is simply a dome on a octagonal base. However, San Vitale has multiple images of figures and animals but excludes it to only its interior. In addition, unlike the Dome of the Rock, its floor plan consists of a narthax, two towers, an apse and two chapels. By studying these monuments, it is possible to understand the importance of religious or cultural imagery as well as limiting materials for construction in these distinctive areas.
"The city is filled with the smoke of burning incense, with hymns to the healing god, with laments for the dead."
"If We Shadows Have Offended: Towards A Worship Theology For Drama in The Church" by Dale Harris, 2007 - Journal