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The role of women in gods and goddesses
The role of women in gods and goddesses
Female gods and roles in greek mythology
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I will be discussing the themes and functions of three images of female deities from three different cultures, the culture/religion that they represent, the function they have served, and how women are represented, and those are, Venus of Dolní Věstonice, the Yakshi bracket figure, and the Innana/Ishtar with Lions and Owls. With regards to the Venus of Dolní Věstonice, it is a sculpture molded of clay and bone ash and is 11.5 cm high and 4.3cm from its widest point, the pelvis, and it is located in in the Czech province of Moravia. According to the lecture notes, it was made approximately 26,000 years ago, when in the warmer time period of the last ice age Moravia was established by bundles of hunters and gatherers, and created Gravettian, …show more content…
For instance, one of the very first images of Christ is one called, Christ as Sol Invictus, which was represented in a mosaic in the Mausoleum of the Julii in Rome, Italy, in the late third century; there one can see the rays of sun, coming from Christ’s head, that later because represented as a halo, which symbolizes, divinity. In this image, one can see the aspects of Christ as a Sun God. Later in time, in the early fourth century, also in Rome, Italy; Christ is represented as The Good Shepherd, in a painted ceiling of a cubiculum in the Catacomb of Saint Peter and Saint Marcellinus. In this image one sees Christ in very simple terms, as a shepherd, to acknowledge those poorer people. However, in Ravenna, Italy, ca. 425, one also sees Christ, as the Good Shepherd, painted in a mosaic in the form of a lunette, from the entrance wall of the Mausoleum of Galla Placidia. In this more developed image, one can see Christ with, his no longer the rays of sun, but the halo itself, with a gold robe and a purple scarf which is a traditional characteristic that symbolizes one is from royal status. In this image, one can also see a realistically moderate face, CHrist with flowing hair and garments and sits comfortably in a very lash landscape, Christ looks naturalistic, however there is a …show more content…
For example, an image from the fifth century, a.d., one sees a well established type of Buddha, with curled hair, and a topknot, which symbolizes his enlightenment because he has more brain than the rest of us, his face is calm looking, his ears are elongated due to the fact that he was a prince and wore very heavy earrings, which weighed down his ears, in this image, Buddha is not naked, but wearing a very light garment. Then, in 40 BCE, one is introduced to a standing Buddha, no fear gesture, eyes closed and very heavily clothed compares to the previous Buddha. In this image, one can really notice the urna/third eye and the ushnisha/ topknot. And finally, in the last image, a 34 meter high bronze statue of Buddha (1993), outside Hong Kong, in a basic sitting position, with his legs crossed, both feet over thighs. Overall, the main difference between the developments of Christ and the Buddha, is that Christ images developed according to time period, according to the painter, and the bible, and the Buddha representations developed according to the position of the Buddha, and the position depended on where the Buddha image would be located, and what was going on
which cover his waist and some of his torso. He is holding a very tall, slender cross in his left hand, while looking with a diffused look to the right. Also, to the left of him (to the right from the viewer’s perspective) there is a sheep lying upon a rock.
The mosaic in the apse of San Vitale in Ravenna depicts a younger version of Christ. This is iconologically significant because it shows a beardless Christ, signifying that he may be from the Mediterranean. His halo contains the Cross and he is wearing a purple robe. It is rather two-dimensional, because the draperies do not convey a sense of organic bodily movement. The figures are also mostly displayed in a frontal view. The globe on which Jesus sits also does not seem to be supporting him very well, adding to the two-dimensional feel. The work was done in 547 A.D.
... Other images have survived and many of them are similar to the Venus of Willendorf. The existence of these other sculptures of similar design found from France to Siberia is very interesting. More figurines reflecting the female form have been found than of the male form leading experts to suggest that the Paleolithic societies may have been based on a matriarchal society (Witcombe, sec. 4.
and the Dove of the Holy Spirit rests on Christ's halo. In front of the
The piece was chosen primarily because of the magnificent presence that is felt as one enters the room, or cathedral, where the piece may be located. The viewer's eye is drawn immediately to the central figure of Saint Peter who was seated as pope at the time. Giving the main focus of the work to the pope is representative of the importance that was placed on the papal seat. This importance was exemplified, during the time of this altarpiece's creation, by the crisis of the Great Schism. Furthermore, a scene of Christ's crucifixion can be seen directly above the panel of Saint Peter further emphasizing the importance of Christ in the painting, and in the medieval time period as well. Overall, the piece depicts four images from the life of Saint Peter, which surround the center panel on the left and the right sides. In addition, scenes from the lives of the Virgin Mary and St. Blaise, a fourth century martyr, are also present. All the characters in the panels more or less have halos and therefore are holy figures. The twelve apostles line the bottom of the panels, perhaps suggesting that they were the foundation of the Catholic religion. Basically, the painting is designed for a church altar, it has religious figures in it, and it is filled with Bibles and images of Christ's crucifixion. All of this relays a strong message to the viewer that this is what is important in life; one should pay close attention to religion and have respect for it.
The two paintings I will be comparing and contrasting are the Madonna Enthroned (Oginissanti Madonna) by Giotto di Bondone ca. 1310 and Madonna Enthroned with Angels and Prophets by Cimabue ca. 1280-1290. Both of these artists used the traditional
A common topic of artwork throughout history has been the crucifixion of Christ. Since it is such a common topic, it makes it very easy to see how artwork changed and developed from the Middle Ages to the Renaissance. The painting on the left, The Crucifixion by Pietro Lorenzetti, shows the usual characteristics of a painting from the Middle Ages. The facial expressions are not varied or very in depth, Jesus and the other saints have the typical halo that is used very often, and the colors are mostly all bright, making nothing in particular stand out. The second painting, on the right, is by Caravaggio and is titled The Flagellation of Christ. There is an obvious shift from one painting to the next. Caravaggio’s piece is much more realistic.
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
...tism. The dove which has been tactfully placed above the Christ’s head, symbolizes the Holy Spirit. The other characters are angels who believed to be witnessing the baptism. The nakedness of the Christ on the other hand symbolizes humility. The general landscape in this picture displays an extraordinary naturalism. The Francesca’s work also marked the era of excessive antiquarian style of sculpturing and tactful use of oil in painting (Prescott, 2005).
4).14 Painted on the ceiling of the Sistine Chapel in Vatican City between 1508 and 1512, Michelangelo’s series represent several narratives from the bible. This painting is considered to be the most outstanding series of illustrations depicting biblical stories that were ever produced. It has also been suggested that the figures in the frescoes reflect Michelangelo’s personal Humanist philosophies. He believed that “the body should be celebrated as a reflection of both divine beauty and the beauty of the human soul”.15 The Creation of Adam, in particular, demonstrates the exact moment when God stretches out his finger and gives life to Adam, the first human. In this image, Adam on the left is portrayed completely nude as he sits languidly on the Earth. On the right, God’s presence appears assertive while he floats amongst several biblical figures in the sky. As their fingers do not touch, it is indicated that Adam is yet to receive the gift of intellect and
One of the very first well-known portrayals of this narrative was by Giotto di Bondone. From around 1304, it is an Early Renaissance painting. Jesus is lying down, cradled by the Virgin Mary, and Mary Magdalene is cares...
People admired the overall concept of the religion and how it brought peace and enlightenment not only into their life, but the people that they are surrounded by. Many different artist began to create what they thought Buddha and how he, being the face of the religion, demonstrates how one can find these qualities in their life. Author of the book History of Chinese Philosophy, Bo Mou states that “....an affectionate concern for the well-being of one 's fellows in the community, society, or a state governed by a wise and virtuous ruler”, when referring to Buddha. In Seated Buddha, it can be mistaken that this sculpture does not posses a lot of great detail, but upon further inspection, it is obvious that it holds very detailed designs. This sculpture has a halo-type structure around the head of the Buddha and he is seated on an elevated surface. I believe that by placing the Buddha on this surface it then emphasizes his holiness and his importance to and in the community. One main feature that the Seated Buddha holds is the fact that he is seated in the lotus position, which ultimately was done to support the concept of peacefulness and calmness. The man has his right-hand open resting on his knee with his palm facing up. By doing this, I believe that the artist is showing the concept of openness and the idea of the Buddha figure being welcoming to others. The Seated Buddha is depicted with his eyes shut and a smile on his face. To me, this is showing that one can be happy regardless of what they can and cannot see and that you do not have to observe something in order to be happy. This can also mean that even if there is bad happening in the world, you can not look at the bad and just help others through their pain, which can then boost the amount of happiness that you
The Christian Church was absolutely instrumental in the art of the Renaissance. It was the driving force behind every inspiration; without the Church, there would have been no art. The Church was the only institution powerful enough to be able to support the commissions of all of the artwork, and it was the only institution, in which people had enough faith and devotion to spend so much of their time and money creating pieces that—although beautiful—were not necessities. The role of religion in art actually began during the Byzantine era. During this time, all artwork was religious in nature, and most of it was done in a consistently similar style so that figures from the Bible could be easily recognized by everyone and so that people had a consistent view of religious matters. Art during this time was largely iconic, meant to inspire the awe of God in the viewer. Along with various versions of the crucifix, one of the most popular images of the Byzantine style was The Pantokrator, an image of Jesus Christ as shown from above. An example of one of these pieces was done in the twelfth century in the abbey church of Monreale in the city of Palermo. Jesus is a monumental figure that takes up much of the space across the apse of the Church. One of his hands forms a mudra as the other holds the scripture. His fully frontal and direct stance along with the glimmering gold background serves to strike awe and fear into the viewer. Clearly this piece was done with the intent to impress the value and mightiness of religion first and attention to the detail and technique of the art second.
Piero della Francesca presented an iconic image of the Renaissance in Italy in his own way, highlighting the two most important idols of the Catholic church, Jesus Christ and the Virgin Mary. Through oil paint, he connected sacred biblical meanings into his own masterpiece. He devoted Christ to portray him in a scene of blessing with his surroundings and other holy figures. The Madonna and Child with Two Angels (Senigallia Madonna), is a piece created with such emphasized meaning and such divinity of the holy, Jesus Christ and his mother the Virgin Mary.
Christ's eyes concentrate on the objects laid out on the table before him and the position of his left hand over the bread. Caravaggio paints the gesture of Jesus' right hand, raised in blessing and foreshortened, appears directed towards the viewer. Across Christ, who is assumed to be Cleophas, face reflects the radiating light from Christ's hand. He would have been in the shadow instead for the source of light is from left, against his back. Cleophas is clad in a green jacket, torn at the elbow, braces the arms of the Savonarola chair in the act of to jump out in disbelief and his reaction parallels to the other disciple on Jesus' left, stretching his arms, palm facing the viewers and the other close enough to almost touch Jesus.