Sunday, November 25, 2012

ESSAY #5a - Man and God


PART I

ESSAY #5a



ESSAY TITLEMan and God 

QUESTION
Could the art of the Gothic period, in your estimation, be similar to, or parallel with, in any way, the Armana period (1353 BC-1335 BC) in Egypt and if so; what were the historical aftereffects of each period or, if you think not, why? 

SUMMARY: Somehow I always turn my essays into a compare/contrast piece. In this case, I think it was entirely appropriate. As usual, I began a little disorganized, trying to figure out paragraph structure but all in all, I believe that this format was the best way to go about it and I learned plenty in writing it.
REASON: This question was asked without many details. It seemed to give the student more of an opportunity to learn/utilize their own style.

PURPOSE: The purpose of this question was to study the unique similarities between two very different religions from two very different time periods and parts of the globe. 

DIRECTION: Much of my information came from reading the course text, from one end of the book to the other. It had almost all of the information that needed to create an essay based on my initial ideas.

IMPRESSIONS: The impact of my research hit me mostly in a religious aspect. Being raised Roman Catholic, it was interesting to see a comparatively similar religion and being an art student, learning one of many links between art and Christianity.

PART II
ANSWER:

            Quite similar to the Amarna Period in Egypt, Gothic Period art and architecture seemed to take on a more humanistic and stylized approach. During both of these very different historical and geographical eras, artists placed a focus on creating an entirely new style of artistic expression. And in each separate civilization, these processes were indeed original and new. More importantly, they both displayed an emphasis on the religion their time and more relatable depictions of gods and leaders.
            The Amarna Period was named as such for Akhenaten and the transition into a new capital and religion. The new religion honored “a single supreme god, the life-giving sun deity Aten (represented by the sun’s disk)” (Course Text, Page 70). Akhenaten possessed almost dictator-like qualities in his attempts to erase previous religion from the Egyptian people, even changing his and his court member’s names to remove them from the patronage of other gods. Being the inducer of this new found worship, he thought of himself as being only one step under Aten. But ironically enough, depictions of the pharaoh suggest otherwise.
http://classconnection.s3.amazonaws.com/139/flashcards/1167139/jpg/akhenaten1330495579668.jpg
(Colossal Figure of Akhenaten, Sandstone with traces of poly chrome, Eighteenth Dynasty)

            Sculpures of Akenaten display very stylized features. Most are exaggerated, giving him puffed lips, large hips and a big belly. The Colossal Figure of Akhenaten in particular has slit-like eyes that turn slightly downward, sensuous lips and dimples which evoke the expression of ephemeral human emotion (Course Text, Page 70). Representations such as these brought leader, god, and commoner to a level of unity and trust that no other past Egyptian art had ever accomplished.
            Although they may seem to be on the opposite end of the spectrum, cathedrals and churches of the Gothic Period contain many examples of the same artistic values as Amarnan artwork had. Cathedrals in the 12th to 15th centuries became inviting places of worship. Like the sculpted humanization of Akhenaten, the cathedrals, decorated in inspirational stained glass narratives, encouraged “worshipers to follow in the footsteps of the saints whose lives were frequently features in the windows of the Gothic churches” (Course Text , Page 490).      
http://www.proprofs.com/flashcards/cardshowall.php?title=ancient-mediterranean-worlds-art 
(Akhenaten and his Family, Painted limestone, 1345 BCE)
  
            Even more similar are pieces Akhenaten and his Family of the Eighteen Dynasty and the Good Samaritan Window at Chartres Cathedral in Notre-Dame.  Described as “invitations to faithful living” (Course text, Page 491), stained glass windows of Gothic Cathedrals like the Good Samaritan Window, detail stories from the bible in glowing color. In one particular segment of the window, there is a portrayal of God’s creation of Adam and Eve, their temptation, fall into sin, and expulsion from the Garden of Eden to lead a life of work and woe (Course Text, Page 491). It was stories like these that built the foundation of a communal type of Christianity.
http://www.paradoxplace.com/Church_Stuff/Christian_Themes/Adam_&_Eve.htm#Chartres
(The Adam and Eve Story, Stained Glass, Good Samaritan Window, Chartres Cathedral)

            Akhenaten and his Family show Akhenaten and Nefertiti with their children under the sun deity, Aten. This display of family life is something no other Egyptian art accomplished beforehand. This piece tells a story that, for the first time, was relatable to the common people of the Amarna Period. “Rather than composed serenity, this artist has conveyed the fidgety behavior of children and the loving involvement of their parents in a manner not even hinted at in earlier royal portraiture (Course Text, Page 71). This display of family life under one god is comparably similar to that of Christianity and the erection of Cathedrals in the Gothic period.
http://www.english.cam.ac.uk/medieval/zoom.php?id=679
(Virgin and Child, Matthew Paris, 1250-1259, Ink and Color on Parchment)


            Not only does Akenhaten and his Family compare to Gothic Cathedral stained glass sermons but also a manuscript written and painted by monk, Matthew Paris of the Benedictine monastery of St. Albans. One particular page of his chronicles includes a portrait of the Virgin Mary and Jesus. When placed side by side with the portrait of Akhenaten’s family, it is obvious to see the similarities. Akhenaten holds his child, reaching for a kiss while Nefertiti lovingly sits her other child on her lap, watching her husband’s display of affection. This new display human life set the foundation for future Egyptian art to come. Much the same as this, Matthew Paris’s Virgin and Child presented a new standard in Christian iconography. The intimacy of gesture and look between mother and child shows a new warmth and sensibility that preempts that shown in treatments of this subject by later artists. “ (http://www.english.cam.ac.uk/medieval/zoom.php?id=679)
            It is interesting to note that while their artistic influences stuck, only a few years following the death of Akhenaten, there came a major iconoclasm. “Aten was removed from the Egyptian pantheon, and Akhenaten as well as his family and religion, were now the focus of prosecution. Their monuments were destroyed, together with related inscriptions and images” (http://www.touregypt.net/featurestories/aten.htm). Narrative Egyptian art began to thrive in examples such as the Books of the Dead and the Tomb of Nefertari.
            Later Christians kept strong foundations in their Gothic roots. Cathedrals, while still seen as major places of community and worship, are also viewed as enormous pieces of art. As a prominent religion in modern day, Christianity is still a practice of common faith, fantastic architecture and humanistic iconography. Icons like Matthew Paris’s Virgin and Child became permanent standards in Christian art. While Gothic Period art produced specific guidelines for future representation of Christian figures, Akhenaten and the Amarna Period opened the doors for artistic evolution.

Tuesday, November 13, 2012

Compare & Contrast - Oh Mama!




PART I

ESSAY #6c


ESSAY TITLE: Compare and Contrast – Oh Mama!

QUESTION
Describe the similarities of and connections between the cults of Earth goddess Gaia, the Virgin Mary and Devi, the Hindi Mother goddess. Select representative artwork depicting each one and describe the similarities in the imagery.

SUMMARY: I found this essay intimidating before diving right in but once I did, I wondered what I was fussing about. It was pretty obvious to see the similarities between each Female Icon. It was just a matter of getting all of the mess in my head down on paper (or on a blog in this case).
REASON: I believe this question was one of few essays aimed at pushing the student to utilize research methods on a variety of subjects and think outside the box.

PURPOSEThe purpose of this essay was to explore similaries and connections between cultures and religions that upon first glance, seem very different. 

DIRECTION: This time around, most of my research was conducted using the course text. Often, I find that articles online provide more information but for this question, I only utilized the web for examples of imagery.

IMPRESSIONS: As stated in the purpose section, I was pushed to realize the similarities between seemingly different religions. I learned that no matter what background you come from, most people want to believe that some higher power is protecting them and that usually comes in the form of a mother figure.

PART II
ANSWER:

             It seems history is going through a looped civil pattern. The more I consider the past’s female iconography across multiple cultures, the more ironic the repression of women’s rights in the 19th and 20th centuries seems. When surveying Greek Mythology, Hinduism and Christianity, it is curious to uncover quite obvious similarities in the way they worship. All of these cultures hold their female deities in high esteem, placing them equal to or even higher than men on the proverbial food chain of devotion.
(http://www.theoi.com/Gallery/T1.6.html)
Birth of Erichtonius,
Late Archaic Period,
Red Attic Figure

            Most interesting to me is that the very first god of Greek Mythology was actually a goddess. Gaia is the name of whom most people, even today refer to as Mother Earth. In the red figure vase The Birth of Erichtonius, as with most depictions of her, she is shown coming out of the earth. “Gaia is shown only partially risen from the earth, being inseparable from her native element” (http://www.theoi.com/Gallery/T1.6.html). On top of this obvious suggestion of earthliness, Gaia hands over her child, Erichtonius, bringing forth the future of his regality. According to Greek Myth, Gaea was the mother of all and therefore was their main icon of fertility.

(http://www.nortonsimon.org/collections/browse_title.php?id=M.1975.11.05.S)
Mother Goddess with Child,Uttar Pradesh, Gupta period, 575-625,
Sandstone
            Like the Greek’s Gaia, Devi, the Hindu Great Goddess represented Fertility. Even more so, she controls material riches, has forms indicative of wealth, beauty and auspiciousness but also wrath, pestilence and power (Course Text, Page 298). The word “Devi” is the Sanskrit root-word of “Divine” and the feminine form of “Deva”, the Sanskrit word for deity.  She is the core of every Hindu goddess and thus manifested in many different forms. Each manifestation is one of many pieces of the Divine Mother. “When armed and riding a lion (as the goddess Durga), she personifies righteous fury. As the goddess Lakshmi, she is the goddess of wealth and beauty” (Course Text, Page 298)
             The ancient sculpture Mother Goddess with Child shows one of many manifestations of the Devi in what I would consider a very classic light. The piece is comparable to even such pieces as the Venus of Willendorf or Venus De Milo. Ancient peoples long before the beginnings of Hinduism produced female figurines with exaggerated attributes, giving them pendulous breasts, a big belly, wide hips and solid thighs (Course Text, Page 6). In Mother Goddess with Child, the Devi is depicted as possessing exaggerated feminine features. Her Hips, bust and child become the main focus of the sculpture while still advertising her power as represented by the sword in her right hand.
(http://www.iconsexplained.com/iec/pics/001_vierge_de_vladimir.jpg)
The Virgin of Vladimir ,Tempera on Wood Panel, Unknown Artist,
 Late 11th Century - Early 12th Century
          Whether you practice Christianity or not, probably the most iconic mother figure to our American demographic is The Virgin Mary. Almost mirroring the Greek’s Gaia and Erichtonius, Mary births a child destined for notoriety. She is viewed by the Christian people as a spiritual mother and protective being. Since it’s creation, The Virgin of Vladamir (AKA Theotokos of Vladimir) was thought to protect the people of the city where it resided. Today, even in a museum, it inspires prayer (Course Text, Page 252). The Virgin Mary is personified in this piece of work with a very human, tender and relatable expression of motherhood while her child, the son of god presses his face to hers. “This distinctively humanized image suggests the growing desire for a more immediate and personal religion” (Course Text, Page 252). Unlike her counterparts Gaia and Devi, The Virgin Mary is not seen as a goddess but rather a more relatable icon of fertility.
            While these are only a few examples of art depicting female icons across a span of time and culture, it is quite evident that their main advertisements are fertility and protection. They are all Mothers not only to their blood relatives but also the people who pray to them. Translated to English, Gaia literally means “earth” while the Devi is a combination of the words “deity” and ”divine”. The Virgin Mary’s Greek name is “Theotokos” which directly translates to “God-Bearer”. After studying the rolls they all played in religion, terms like “earth”, “bearer” and “Divine all seem interchangeable when separately describing all three of these female figure

Sunday, November 4, 2012

Essay #1c Compare and Contrast

 


PART I

ESSAY #1c



ESSAY TITLE: Compare and Contrast

QUESTIONDescribe the functional purpose of the Venus of Willendorf and the Venus De Milo. How is their imagery similar? How is it different? Find a third Venus example to compare and contrast these two to and describe why you selected it.

SUMMARY: I was excited to answer this question as I had thought about it for awhile and had many ideas. It took me a little bit of time to choose my own Venus to compare to the question's two but I ended up happy with the one I chose. The only problem I encountered while writing this essay was my lack of citations from the course text as there was very limited information on the Venus De Milo and Venus of Willendorf.

REASON: This question was probably conducted as a lesson in making the correct choices on what subject I would be best suited to explore in my essay.

PURPOSEI would imagine that this question's purpose was to make me explore the role of women throughout a wide span of ancient history. 

DIRECTION: Most of my work was conducted using articles online. I had a bit of an issue finding information in the book that wasn't repetitive. I utilized information from science articles as well as museum and history websites. 

IMPRESSIONS: It was most interesting reading about the science behind why theVenus De Milo is the ideal woman and why the human brain is attracted to women of similar proportions. Apart from that, it was eye opening to learn of the correlations between sculpture spanning such a long period of time. 

PART II


ANSWER:


            It is not difficult to find a correlation between any, if not all Venus artworks. The first word that comes to mind when viewing all of these pieces is very obviously “femininity”. But is that all there is to it? Upon studying sculptures such asVenus of Willendorf and the Venus De Milo, I have discovered that while they were associated with womanhood during their perspective first lives, they also carried alongside them a deeper symbol of luck, beauty, or fertility.  
Venus of Hohle Fels, Mammoth Ivory,  Early Aurignacian, 35 000 and 40 000 years old)

            I decided to start right at the very beginning. A piece uncovered just a mere 4 years ago in Germany, the Venus of Hohle Fels is the oldest example of figurative art at 40,000 years old. Not only does this particular Venus change our views of the skill level and brain development of the people of it’s time, but it is also shows us how they viewed their women. One source states that “from the exaggerated sexual features, the 6-centimetre-high figurine might have been a fertility symbol (http://www.newscientist.com/article/dn17121-ivory-venus-is-first-depiction-of-a-woman.html). As you can see in the photo, the Venus of Hohle Felswas crafted with bulging thighs and waist, it’s breast and genitalia exaggerated and it lacks features such as a face and feet. These body parts were most likely unimportant in the creation of this piece because they do not relate to fertility. Unfortunately, not much else is known of this newly found figurine.
Venus of Willendorf, Limestone and Red Ochre, Unknown Origin, 24,000 B.C.E – 22,000 B.C.E.)

            Like the Venus of Hehle Fels, the Venus of Willendorf possesses many of the same features and therefore, it is surprising to learn that this sculpture was made 16,000 years later in 24,000 BCE.  This figurine was sculpted with big breasts, a large belly with a deep navel, wide hips, dimpled buttocks and knees, and strong thighs (Course Text, Chapter 1, Pg. 6). Made from Limestone and found in Austria, this Venus sheds some light on the purpose of it’s ancestor the Venus of Hehle Fels.
             Even more interesting is the idea that the Venus of Willendorf may haveserved a deeper purpose. There have been multiple theories on this subject. Clive Gamble, an archeologist suggested “these little sculptures were subtle forms of nonverbal communication among small isolated groups of Paleolithic people spread out across vast regions” (Course Text, Chapter 1, Pg. 1-2) The Venus displayed  a well nourished and therefore healthy and fertile women. “As symbols, these figures would have provided reassurance of shared values about the body” (Course Text, Chapter 1, Pg. 2). Though this theory seems entirely possible, I found It’s size to be even more intriguing. At only 4 3/8”, The Venus of Willlendorf  is said to have served as a good luck charm. “Its diminutive size led archaeologists to assume that it may have been carried by the men during their hunting missions in which it served not only as a reminder of their mate back at home but also as a charm to bring them success in their hunting” (http://www.thenagain.info/webchron/world/Willendorf.html). These ideas tie both Venuses together in a way that while Venus of Hehle Fels could have quite possibly been simply a symbol of health and fertility, it may have been our ancestor’s rabbit’s foot.
Venus De Milo, Marble, Alexandros of Antioch, 130 - 100 BCE)

            Delving much further past these ancient, tiny figurines, the Greek’s Venus De Milo was erected between 130 and 100 BCE. Sculpted of marble and almost life size at 6’8”, this statue is an icon of Aphrodite of Melos, the Greek goddess of love and beauty. Though this piece of work is much younger than the two previous Venuses I explored, it is easy to see a pattern. Aphrodite shows a perfectly symmetrical body with heaving hips and perfect long torso. “The juxtaposition of soft flesh and crisp drapery, seemingly in the process of slipping off the figure, adds a note of erotic tension” (Course Text, Chapter 5, Pg. 4). The Venus De Milo, even many years younger than the Venus of Hehle Fels and the Venus of Willendorf, presents the same idea of fertility, sex and beauty.
             

(http://pics.wikifeet.com/Rita-Hayworth-Feet-366612.jpg
Rita Hayworth)

        While this Venus may not serve as a good luck charm, it does provoke an interesting science. During my research, I stumbled upon an article written by plastic surgeons, Peter Aldea and Patricia L. Eby of Cosmetic Surgery Specialists of Memphis. They composed a study which compared the Venus De Milo’s waist to hip ratio (WHR) to that of some of the most famous women in the world. They refer to the Venus as “the gold standard for classic beauty” (http://www.cosmeticsurgeryspecialists.org/beauty.html). Her WHR is a perfect 0.7. “Rita Hayworth, Jennifer Lopez, Tyra Banks, Kate Moss and Eva Longoria have in common a WHR of 0.67. Lana Turner and Naomi Campbell had a WHR of 0.68. Marilyn Monroe and Sophia Loren shared a WHR of 0.63” (http://www.cosmeticsurgeryspecialists.org/beauty.html).  


Eva Longoria)


           On top of this, research has been performed on women with varied WTH ratios and the findings are that women nearing the Venus’s perfect 0.7 generally produce more estrogen, are more fertile, carry less disease and even have smarter children. These facts certainly make you wonder. The Greeks knew what they had when they created their Venus: an Icon of feminine perfection.
            These are only a few examples of Venus figures. If I had the ability to explore them all, I would most certainly find that there are more similarities than differences among them, beauty and fertility being the most common theme. Being the oldest of the three I explored, The Venus of Hehle Fels seemed the most interesting to me, when in fact the entire evolution of getting from her to the younger Venus De Milo opened my eyes. From symbols of fertility to charms and icons of perfection, now I see that people from all walks of life, time period and region have similar views of women. Pushing aside any specifics in the history of women’s rights, they have always been a symbol of beauty and fertility.

Saturday, October 6, 2012

ESSAY 1A: Them and Us

PART I 

ESSAY #1A


ESSAY TITLE: Them and Us

QUESTIONHow artistically similar, or different, do you think prehistoric people were compared to modern man and, what singular force or need continues to drive the artistic needs and human expressions of the 21st century? 

SUMMARY: When I answered this question, I discovered about halfway through that my opinion had evolved. What the answer ended up being was a hybrid of what I had originally thought and what I learned throughout the research process.

REASON: The reason behind this question is what all these topic questions force: an opportunity to learn something new. This question in particular pushed me to formulate an opinion on the way I see art.

PURPOSE: I believe that upon researching this subject, I was to understand that we are not so different from our ancient ancestors.

DIRECTION: As stated in my summary, I did have some difficulty sticking to a main point. The reason being that I had too many opinions. The beginning of the essay was written using mostly textbook references while the second half focused mainly on information I read on the internet about cave paintings.

IMPRESSIONS: About a year ago, I had watched a documentary film called "The Cave of Forgotten Dreams". I was fascinated by the film and am grateful to have been able to research the Chauvet Caves even more in this essay. 

PART II

ANSWER

According to the Course Text, it is modern man’s ability to create and understand the use of symbols and imagery that sets us apart from our ancestors. “We are defined as a species by our abilities to make and understand art.” (Course Text, Chapter 1, Page 2) I delved deep into this statement to find out why, upon first reading and possessing little knowledge on the subject, I agreed. Come to find out, this definition is just the tip of the iceberg. I believe that the process of becoming who we are today, artistically, was aided by the evolution of man and his environment. On top of the perpetual need for expression, what we also have in common with our prehistoric ancestors is the ongoing force to make something that is aesthetically pleasing.
            While the above quote may be true of our separation from our ancestors, they did move out of their focus on structure and function to a more expressive form of art. During the Lower Paleolithic period, human beings were building simple tools made of stone for use in everyday life. They formed sharp edges to skin game, to cut wood and other material. It wasn’t until the discovery of certain sites across Eurasia that things began to take an artistic turn. One such site is located in present day Olorgesailie, Kenya. This particular site contains hundreds of hand axes which far exceeded the need for functionality at the time and suggested that they served the purpose of announcing an individual’s status, skills and standing in the community (Course Text, Chapter 1, Page 3). As little as this may seem, it was actually a giant step toward visual art. These pieces were not just used as tools but also to show off, i.e. a means of expression.

("Dr. Rick Potts studies one of more than 500 stone handaxes, made by Homo erectus, uncovered in Olorgesailie, Kenya"(Source: https://tv.azpm.org/s/6926-nova-becoming-human/)

From this point in time, evolution only became more powerful as a driving force toward what we now consider visual art. In Blombos Cave in South Africa, archeologists discovered pieces of decorated ocher which were most likely used as crayons. They also found bits of shells and ostrich eggshell beads probably used to be hung from clothing or a person’s hair (Course Text, Chapter 1, Page. 4). Our ancestors began using earth’s raw material as a means of displaying individuality.
            Beginning in the Upper Paleolithic period, humans began using their imaginations to build home structures. Some people object to the use of the term “Architecture” being used in connection with our ancestors because they don’t believe it took enough of their imagination or planning (Course text, Chapter 1, Page 4). This baffles me because these simple acts of shelter building are the roots of not only modern day building and architecture, but also some of our visual art.
As reviewed in the course text, small animal and human figurines have been found and estimated as being produced as early as 30,000 BCE. The Lion-Human is a confusing piece, carved from ivory, and portraying a human with the head of a lion. There are many guesses as to what the carver was thinking when this was made. “Was the creature intended to represent a person wearing a ritual lion mask? Or has the man taken on the appearance of the animal?” (Course Text, Chapter 1, Page 5) Archeologists now believe that our human ancestors believed that they thought of themselves as living alongside animals in a unified earth. But is this really true? Or is it possible that they wanted to convey a thought in their imagination. Either way, the ability to produce something like this without some kind of reference is proof that, like us, our ancestors were constantly and artistically evolving. This figurine was a reflection of the artist as a person and a symbol of what they found to be aesthetically pleasing.

(Lion-Human. c. 30,000 - 26,000 BCE. Mammoth ivory, Source: http://www.theslideprojector.com/art3/art3lecturepresentationssummer/art3lecture3.html)

Cave drawings were only stumbled upon in recent history and what a huge discovery they were. Multiple archeologists and scholars were dead set on concocting a legitimate theory on the function of such paintings. There had to be some practical use for such hard work, right? French archeologist Salomon Reinach believed cave drawings were created for sympathetic magic, that if they were to paint these animals, then they would surely have a good hunt in the near future. Abbe Henri Breuil thought that these caves were used as places of worship among other things. Both of these theories were discarded only to conclude that there is no conclusion.
            Caves like The Cauvet cave in Ardeche Gorge, France were far from the living quarters of prehistoric peoples. This is curious as far as drumming up a theory of having been used for ritualistic purposes. It seems more likely that this cave in particular was used as a kind of personal gallery for the cave dweller. The drawings seem to the product of the artist’s imagination. What I believe is the most notable piece from this cave is The Venus and the Sorcerer. This drawing is erected covering the majority of a piece of limestone which hangs from the ceiling of the cavern and comes to a point toward the floor. The artist obviously used some degree of thought when he drew the pubic area of a woman around this piece. The interaction of the shape of the limestone with the shape of his drawing shows a level of intelligence in the area of aesthetics. 

(The Venus and the Sorcerer, Chauvet Cave, France, 

Because this Chauvet Cave is the one of the oldest and most fascinating examples of cave art, it is easy to find examples of beauty inside.  The cave itself contains at least 13 species of animal, some of which do not even exist today. This leads me to believe that whoever painted in the caverns had a great eye for detail and a broad imagination. The artist’s ability to suggest movement among his paintings is also astounding. In many of these depictions, animals are drawn in charcoal superimposed on each other and containing multiple legs, a method still used by animators today. These paintings are not only pleasing to artist’s eye but have awed cave explorers and the like to this day.
("A clip from the documentary "Cave of Forgotten Dreams" by Werner Herzog." Sourcehttp://www.youtube.com/watch?v=RcAwlnhRn2g&feature=related)

The need to create something based on expression as well as beauty is something that I believe will never subside. The timeline between the use of prehistoric tools to ancient cave drawings and today, a variety of mediums and processes in art has truly shown that we all have a common ground: the need for pretty things. Not only that but, based on Paleolithic cave paintings, we also share an ability to convey expression of what we personally find aesthetically pleasing. This fact will never change. It will only evolve with time. 

Sunday, September 23, 2012

ESSAY #2b Completeness and Truth

PART I

ESSAY #2b


ESSAY TITLE: Completeness and Truth

QUESTION: How is it possible that what the Egyptians considered "completeness", could be misinterpreted as crude, naive or unrealistic and how does it affect the “truth” contained in their art? 

SUMMARY: Upon answering this question, I experienced a mild upset in organization. To begin with, I had so many thoughts and notes flying about. I was forced to sit down, sort my thoughts, agree or disagree on the topic and thoroughly explain my opinion.

REASON: What I believe the reason for asking this question is to understand why people make art. The reason may be different than my own and I needed to understand that there is more than one point of view on this subject.

PURPOSE: The purpose of this question ties into the reason I was asked it. It forced me to keep an open mind while at the same time, study and research the reasons why I should.

DIRECTION: Throughout the course of answering this question, I buried myself into the course text and took advantage of web tools. I generally kept the same opinion I had upon first reading the question but my knowledge on the subject grew tremendously.

IMPRESSIONS: While most people know of The Great Sphinx, I don’t think many know who it was built for and why it is of half man and half lion. I now have more insight as to what the Egyptians were thinking when this was erected. Not only that but, as silly as it seems, I know more than just the names of people like Nefertiti and Akhenaten. I now know who they were.

PART II

ANSWER:
            When considering the definition of “completeness” and “truth”, there is one explanation: these words are open to interpretation. What the Egyptians considered to be complete may be something that you or I do not. When looking at ancient Egyptian art over a  2,500 year span, I noticed a distinct  distortion of limbs and features of figures, which upon first glace, I said to myself “did these people have no concept of proportion and reality?” Delving even further, I saw examples of perfectly realistic carvings and statues, which made me wonder. Which pieces of Egyptian art display what they actually considered accurate? It Turns out, in their eyes, both were.

            The first clue that really got me thinking was one of the first pieces I had even read on the subject. “The Greek Historian Herodotus thought the Egyptians were the most religious people he had ever encountered” (Art History, Fourth Edition Vol. I, Marilyn Stokstad, Pg. 50) What does this have to do with their art? Upon further investigation I learned that the ancient Egyptians led a very fruitful life centered around their religion. These people believed in keeping a certain balance in harmony with the gods. Death was feared only by ones who did not abide by this balance and their art became an extension of this way of thinking. Egyptian artistic style was passed down from generation to generation with little room for change. This was specifically to keep the order and therefor, not upset the balance, harmony and way of life.

            “The Narmer Palette”  is an prime example of exactly where the Egyptians placed their priorities. Dating from the Early Dynastic period, the palette is a representation of the unification of upper and lower Egypt under King Narmer’s rule. Narmer is displayed as a larger than life man surrounded by smaller enemies of lower Egypt. The focal point of this piece is the depiction of his defeat over a man of comparable size, his hand holding the head of his enemy and ready to strike with the other. The Egyptians used exaggeration and distortion as a way to highlight the most important or impressive parts of their history. Narmer, being a king, was at the head of the table, so to speak. He was now to be remembered in this life as a brave successor. In the afterlife, his “ka”, or soul, would continue being the great man he was depicted as.
Both sides of the Palette
("The Narmer Palette" Green schist, Hierakonpolis. Early Dynastic Period, c. 2950 BCE.) 


            Another example, The Great Sphinx of the Funerary Complex of Khafre “combines his head with the long body of a crouching lion seemingly merging notions of human intelligence with animal strength” (Art History, Fourth Edition Vol. I, Marilyn Stokstad, Pg. 58). This is said to be one of the most impressive of all Egyptian art. It’s sheer size alone suggests a central figure in history who is to be be remembered as someone of great power, intelligence and regalia. This statue of Egyptians’ “truth”, though possibly interpreted as naive, was just a representation of what they saw in Khafre: a noble and strong king.
("The Great Sphinx" Sandstone, Giza. Old Kingdom c. 2520-2494 BCE.)


            Aside from Egyptian Kings, pieces of art have also shown persons of lower status. “Seated Scribe” (Art History, Fourth Edition Vol. I, Marilyn Stokstad, Pg. 60) of the Fifth Dynasty shows a man in a much more lifelike condition. His line of work has made him overweight. His skin droops from lack of exercise. His eyes are focused as they may have been while he was alive . Even lower in class, statues had been carved of servants. “The Butcher” (Art History, Fourth Edition Vol. I, Marilyn Stokstad, Pg. 60) displays a man hunched over, in good physical condition,  performing his daily duty which was, in this case, the slaughter of an ox. These types of art were erected much smaller than those depicting a king or someone of higher class. They were solely made to be buried with those of more importance so that as they descent into the afterlife, the person would have everything that they needed when they got there. This provided the buried with “completeness”.




            As years went on, artist style began to budge just a little bit. While past representations portrayed important figures in symbolic or physically fantastic form, by the time of the Twelfth Dynasty arrived, focus was placed more on exaggerating facial features as opposed to symbolic ones seen in pieces like The Great Sphinx.  In the “Colossal Figure of Akhenaten” (Art History, Fourth Edition Vol. I, Marilyn Stokstad, Pg. 70),  facial features stand out. His lips are almost bulbous. His eyes are slanted and quite large. The bones of his torso jut out. His large facial features and expression suggest a man of great confidence. While the visuals of Egyptian art have changed, the message is just the same: Remember this person of importance, let him continue to be complete in his afterlife and most importantly, keep the balance.
An early statue of Akhenaten
("Colossal Figure of Akhenaten" Sandstone with traces of polychromy,  Eighteenth Dynasty)

            Ironically enough, Akhenaten became someone the Egyptians after him wanted to forget. His new religion was one they wanted to erase and therefor, all traces of Akhenaten were attempted to be destroyed.  Just like packing away a box of memories of your ex-boyfriend or girlfriend, the people who came after Akhenaten packed him away by turning his art and buildings to rubble. The backlash against his religion led to the destruction of his palaces and temples. Work began on dismantling Akhenaten very soon after abandonment and it’s stone re-used by later Pharaohs.( http://www.akhet.co.uk/akhstory.htm) Now that this had occurred, the Egyptians new “truth” was that Akhenaten never even existed. He had been erased. This brought them back to their much needed balance.

           These displays of art are only pieces of Egyptian “completeness”. Their strong focus on religion maintained their ongoing point of view of what they saw as “truth”. People who may not know the history behind some of these pieces of artwork may take a first look and perhaps giggle at the way Nermer’s chin juts out too far or how Akhenaten’s right arm looks more like a piece of armor than a limb. To them, this is unrealistic, even crude. To the ancient Egyptians, their works put the best of people on display for their gods and for Egyptian people to follow.