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What role does religious art play in russian culture? Russian religious art and architecture
Theme in russian literature
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Christianity has influenced not only Andrei Rublev’s life, but also his artwork, the Trinity was his signature interpretation of the Old Testament (Lenhoff 690). This painting shows Abraham and his communication with God. In this painting, there are three angels shown to visit Abraham at what is known as the Oak of Mamre in the Bible. These angels are believed to represent the Trinity or the three “parts” of God: the Father, the son, and the Holy Spirit. Abraham is shown in this painting to be serving them a meal (Bunge 52). As the conversation progresses it shows that he is speaking directly to God. The color gold is an important element to this painting. Around each of the angel’s heads there is a golden halo. On the table is a matching golden chalice-like bowl. In the background of the picture, a house can be seen off on the left hand side. There is a rocky hill that can be seen on the upper right of the picture in the distance. The painting Trinity had decorated the Trinity Monastery between 1422 …show more content…
Each figure has a combination of blue and another color, where blue unifies all three (Levinson 352). The figures sitting around the table have gentle faces and quiet concentration, this is further expressed in the rhythmical arrangement and composition of the figures. The wings of the angels are painted in gold. Their seats are also gold along with the chalice in the center. The light shines around their heads, creating a golden halo which signifies purity. It is believed that the son was dressed in the deepest colors; a reddish brown garment that represents heaven and earth. The next figure is the Father who wears all the colors which can show him representing the universe. On the right would be believed to be the figure of the Holy Spirit. This figure wears blue which represents the sky (Levinson 352). Andrei Rublev was also notable for his depictions of Christ in various
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.
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
His socks are also blue. All of this is represented to look as if this is on a rooftop. Within the art, you can also see shapes such as squares and rectangles. These four-sided shapes are found in many different aspects of the artwork.
He initially compares God’s eye to frost, and his hand to new enemy suggesting reluctance to take God’s hand, to fully believe. The progression continues as God’s feet and ideas are compared to pigeons that are more and more prevalent conquering the whispers of doubts; The speaker’s notion of God is becoming more resilient to the test of doubt. Furthermore Larew applies the use of symbolism in “the wide blue frame” to solidify the conviction in God in a ephemeral sense. The word wide also means to the full extent while the color blue is often used in Christian art on the Virgin Mary, symbolizing her connection with the divine. Blue also provides a sense of relaxation, peace and tranquility. Thus, “wide blue frame” symbolizes the feeling of support, peace, and tranquility in the full extent as result of conviction in God. In the end, against all those doubts, the speaker has finally found his or her conviction in
As this painting was created in the High Renaissance, the composition shows the transition from spiritual to humanist. During this period, artists began to experiment with attempts to pay attention to realism and naturalistic features while still maintaining the appearances of spiritual figures. In the painting, Baptism of Christ, Verrocchio and Leonardo da Vinci worked on two angels seen on the left of the piece. Verrocchio was a renown early Renaissance artist, paying extreme details to humanism to a point where the line between real and spiritual was obsolete. In this painting, it is no different; the angel painted by Verrocchio appears as a small boy with a halo above his head. However, Leonardo’s contribution portrays an angel that is still divine, yet still having elements of realism. This concept of “realistic, yet spiritual” was a main idea that embodies the High Renaissance, and can be seen in Orley’s piece as well. Although there is a lack of attention to proper anatomy, the conception of “realistic, yet spiritual” is shown through the scenery in the background, where the landscape is depicted as a castle on the hilltop looming over a foggy forest. This imagery could be seen in reality, but the hazy feeling gives off a more spiritual world that is unearthly, but still on Earth. Landscaping also became a prominent theme that grew in
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
The Lord is wearing to Christian symbols. The first symbol is his headwear. Mary Elizabeth Podles expounds that the deity’s tiara is similar to the pope, which represents the trinity (54). The trinity is the Christian expression that God is made up of the Father (God), Son (Jesus), and Spirit (Holy Spirt), and all three figures are connected to one another. This is shown in the headwear, which is made up of three layers.
2. There are 18 people in the foreground of the image and an uncountable number in the background. Jesus and Peter both have halos indicating their divine status, while Judas doesn’t. The people have a sort of bulky feel to them as well as very vibrant colored clothes. The contrast of
The theme can be generally recognized in this piece through color, space, and especially through use of light. The colors used in this piece are mostly calm toned, whereas the robes and shawls worn are pale blues, corals, and beiges. There are however, some harsh colored objects such as Mary’s navy blue shaul and deep coral gown, as well as Christ’s coral necklace that stand out from the rest of the colors. Mary’s veil and the angel on the lefts’ hair are translucent in certain streams of light coming from the windows throughout the room. The artists suggests that the light is dedicated not to represent the divine but to rather represent a more natural juxtaposition on the piece. The space that the characters stand in is fully used by the subjects but also has a very interesting doorway with heightened perspecti...
The use of modeling and white overpainting gives the artwork a sense of naturalism. The artwork is overall highly stylized with shallow and flat figures with a sinuous curve. Classical elements are seen in the artwork such as the colonnade, details of classical architecture, there is also the use of shadow in the legs of the camels.The value of spiritual beauty is seen in the text and material beauty of the Vienna Genesis, creating their overall message. The Jacob Wrestling the Angel is a continuous narrative in a sequence along a U-shaped path. Jacob illustrated in a brown and red tunic leading his servants, two wives, and eleven children across a river. After going over the bridge to cross the river, Jacob is separated from his family. At night he meets and wrestles an angel, so he will be blessed. Once he is blessed his family continues on their journey. An important transformation seen in Jacob’s life is when the Old Testament patriarch is called Israel. The bent bridge illustrates the classical relief and how if it were straightened it could have been a frieze carved in
Since my first encounter with Kandinsky's art I was amazed by their complexity and always wondered about the creative and intellectual mind, which was responsible for them. The few books I managed to find on Kandinsky were extremely useful as they outlined his entire career and had a substantial amount of illustrations. There were also a number of websites available on the Internet, which contained critiques from other art historians, critics and fellow artists from around the world. But there is not a large number of his paintings available in Britain therefore could only experience his art at first hand on three occasions. If I were to attempt this coursework again I would perhaps try to widen my research by travelling outside of the U.K. and experiencing at first hand some of Kandinsky's more grand pieces, in order to fully feel their effects.
The representation of divinity was clearly defined in Christ in Majesty with Symbols of the Four Evangelists through its subject matter, technique, and style. Christ acts as the focal point, but the artist also used different subjects from the Old and New Testament to decorate the apse. Unlike the mosaics in the apse of Byzantine churches, the artist employed the technique of classical fresco painting. The artist also applied decoration to the figures with the hierarchy of scale, and through the geometric style in the drapery instead of maintaining a sense of realism.
In this painting there is a strong presence of the color element. There is a strong contrast in lighting between the mother and child and the angels worshiping on the outside. The mother and child are painted in a vibrant pinkish rose hue while the surrounding angels are a slightly darker mix of green shades. The painting also offers a good variation of saturation when it comes to the fading yellow brick background. The pallets used
The doctrine of the Trinity, as seen in the Christian bible, is primary to the Christian faith. The word “Trinity” does not actually appear in the bible; it is a theological label meant to summarize certain teachings of certain passages of scripture, and is crucial to properly understand what God is like, how He relates to us, and how we relate to Him. It may also raise many difficult questions including what does it mean that God is a Trinity? While it is difficult for us to fully understand everything about the trinity, it is quite possible to answer questions like this one and come to a solid grasp of what it means for God to be three in one.
The Russian-born Wassily Wassilyevich Kandinsky came late to art. In 1896, at age 30, he gave up a legal career to take up painting inspired by Monet’s Haystacks. His first works such as Der Blaue Reiter shows Monet's influence on Kandinsky. Similar to the artists we considered earlier, Kandinsky's work increased in abstraction as he matured. Indeed, many credit Kandinsky with being the first abstract artist. In a change of pace, we will focus on Kandinsky's main contribution to modern art and spirituality: as a writer. His two most famous works are Concerning the Spiritual In Art (1910) (Kandinsky, 1977) and Point and Line to Plane (1926) (Kandinsky, 1979). Before turning to the works themselves, a word on Kandinsky’s main spiritual influences.