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.

1 comment:

  1. Jamie - Well, wow, well done conceptually. A few typos mar an otherwise well-written essay. The only "complaint" is that I wish it were longer because I feel there was, and you had, so much more to say. Considering all of these things and your challenges this semester, on a scale of 1 to 4, this was a 3.7

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