Egyptian and Greek Architecture

1. “The Egyptians’ center of attention on death and the Greeks’ celebration of lifestyles are evident in their art and architectural legacies.” Using this statement as a beginning point, compare and contrast an Egyptian shape or sculpture to a Greek structure or sculpture from our textbook. Further, how did the Romans adopt and exchange Greek art and architecture to go well with their needs?
In general, Egyptian art, including the art of sculpture, used to be far more religiously oriented than the Greek artwork and sculpture. The art of sculpture in Egypt was carefully related to Egyptian architecture and used to be made to be placed in temples and funeral tombs. Therefore, Egyptian sculpture had to be consistent with the standard imagery of the temple’s architecture and interior. Because of its relation to the religion, Egyptian sculptors had to follow strict rules while creating the statues. The divine statues found in temples were characterized by their large size, typically with large body parts, including heads with faces that carried no defined expression. The sculptures carried no trace of emotions. To a certain extent, this could be explained by the fact that Egyptians saw the beauty in symmetry.In contrast, Greek structure of the sculpture is influenced by the ideas of humanism that were prevalent in Greek society at that time. Greek sculpture, including Polykleitos’ Doryphoros, sees the mathematical precision of human bodies as a pure perfection. Unlike religion-oriented Egyptian art, Greek art was closely related to philosophical ideas. Consequently, Greek statues were more natural and real than the Egyptian ones. Greek sculptors had the knowledge of science. In particular, they were well aware of the human anatomy. The statues were not based on symmetry because they reflected real physiological characteristics of people. Because of this, contemporary people see Greek sculpture as still relevant today. When Romans invaded Greek territories, they were left astonished by the beauty of the Greek Art. Artists from Rome soon began to recreate Greek statues in bronze and marble. Though many of these works are pure copies of Greek art, Romans also combined the copies of the Greek God bodies with the heads of the Roman historical figures to create a political context they needed.Unit 2Discussion: Unit 2 - Option 1 "Icons and Iconoclasm"What reasons were given for the acceptance of icons by the Christian church?In 797 AD, the emperor of Eastern Empire Irene initiated the Second Church Council of Nicaea, in which it was decided that having images of Jesus and other saints at home is possible with certain limitations. The images had to be two-dimensional with no statues allowed, and no image was ever to be worshiped. The decision to do so was caused by the years of rivalry between those who supported icons and those who found them not acceptable.What reasons were given by Islamic doctrine for the exclusion of icons? In what instances do Christians forbid the use of images?One of the most symbolic acts in Islamic religion happened when Mohamed removed all symbolic images from Ka'ba in Mecca. The use of the religious images was soon disregarded as the sign of pagan worshiping that was not acceptable for a renowned religion that worshiped one God at a time. Anthropomorphic symbols are considered to disrupt people from worshiping Allah. In Christianity, the images are not allowed in places where they are likely to become the objects of worshiping, such as public places, etc. Icons are specifically allowed to be placed in homes and churches.In what instances does Islamic art allow the use of images?In contrast with Christianity, Islamic art prohibits anthropomorphic icons in secular places, such as mosques and madrasahs. According to the general rule, it is forbidden to use anthropomorphic images in the Islamic art. Also, there is no reference to anything living, including plants and animals in Islamic religious images. The set of the rules that indicates which images are allowed is called Muslim iconoclasm. Moreover, religious symbolism cannot be created through reference to anything living. Rather, iconoclasm is often expressed trough texts and ornaments with geometric forms and other abstract ornaments. However, the ban on the images that reference the living can be avoided if the depictions of animals and people are short of some characteristics of animals and people. The main concern of Muslim iconoclasm is that images should not become idols. In order not to become an idol, the object has to remind of Allah and appear rather fake compared to regular anthropomorphic images.Unit 3Reflections Part I: Secret Iconography1. Hidden or disguised symbolism was a favorite vehicle of the Northern Renaissance painters. This “secret iconography” was not so secret to the contemporary viewer of works like Robert Campin’s Merode Altarpiece (Fig. 8-3) or Jan Van Eyck’s Giovanni Arnolfini and His Wife (Fig. 8-6).People of this period would have instantly recognized the hidden meaning of the objects, just as you instantly recognize the meaning of the app icons on your smart phone. Also, it became a kind of game or pastime to try to find all of the objects and meanings.2. Watch this short video, then using the two works above, see if you can list at least 5 (five) objects and their hidden meaning for each painting!Jan Van Eyck’s Giovanni Arnolfini and His Wife The dog. This is a rare breed, either brussels griffon or an affenpinscher; therefore, it symbolizes the wealth and the privileged status of its owners. Moreover, the popular meaning given to a god in popular culture is fidelity. In this case, the dog symbolizes marital fidelity.Oranges. The fruit placed on the window might indicate the innocence of the Biblical first people before they fell from grace. Moreover, they again symbolize the wealth of the couple as exotic fruit were available to the limited circle of people at that time.Mirror. The mirror subtly reveals that two people more are present at the scene. This is the ironic reminder of author’s presence as the Latin description above states that Jan van Eyck was here. Again, the mirror is a rare household item available for the privileged people only. Since the mirror is a transparent object, it is considered to be a symbol of purity. Wooden carving on the chair. Surprisingly, this object symbolizes fertility. The carving is located above the bed shared by the couple. It stands for St Margaret, the religious patron of fertility.The supposed pregnancy. Though the woman in the painting appears to be pregnant, it is not really so. Though her dress reveals that-day fashion, the artists of that time also made women appear pregnant because this was believed to raise fertility.Robert Campin’s Merode Altarpiece A scroll and the book. This is the religious symbol of symbiosis between the New Testament and the Old Testament. The two objects also symbolize Mary and her Son, or, in particular, the role they had in the realization of the prophecy.The lilies. The flowers that are put in a vase on the table represent virginity. Lilies are a frequent symbol used to represent Virgin Mary. However, its original meaning is not in the representation of Mary but in the depiction of the virginity itself. Perhaps, this metaphor is rooted in the physical comparison between the petals of the lily and pure virginal body. Another symbol of virginity is the candle on the table in a central segment.The table. The table in paintings dedicated to the religion is often interpreted as an altar. Most famously, this symbol is used in the Last Supper by Leonardo da Vinci. However, it perfectly serves its purpose for the painting discussed. The sixteen sides of the table most likely represent the original Hebrew prophets.The washing arrangements. This is an unusual part of the interior for that time especially. The meaning of the symbol is very specific. It might refer to the priest to drink water from the specially arranged piscina during the Mess.The Mousetrap. The purpose of the trap constructed by Joseph is to catch the devil. It symbolizes the trapping and defeat of the one from hands of the Christ. The metaphor is not introduced by the painting as it was previously used three times by Saint Augustine. The construction seen from the window of Joseph’s room is also a trap. By setting many traps, the author emphasizes the significance of the confrontation between Jesus and the devil.Did you know about relics and that they are still venerated in churches today?I did know about the relics and the fact that they are still exposed in churches today. However, since many authentic relics have been damaged throughout the centuries of being displayed, the one that are displayed today are at great risk of not being authentic. Those that are authentic, however, have become more interesting from the artistic and historical perspective due to being an object of worship for many centuries.Do you think there were a lot of false or fake relics disseminated in the Middle Ages?Though I never actually gave it a thought, the presence of fake relics is understandable. During the Middle Ages, pilgrimage turned into a type of business that was extremely profitable. Unfortunately for those who gained money from them, there were no enough relics to satisfy the demand of piligrims. Because of this, fake relics were introduced to keep up with the demand.Is there a similar phenomenon in secular life (nonreligious) that you can think of? For example, many people make a “pilgrimage” to Graceland, or Disney World.Worshiping is an inevitable aspect of human nature. Even without being religious in a traditional sense, people still find themselves passionately worshiping people, things, and places of interest. Hence, the parallels can be driven between piligrimage and many secular worshiping, including, for example, visiting Louvre, or even stalking celebrities.Unit 4Discussion: Unit 4 - Option 1 "Thomas Jefferson and Neoclassical Architecture in America "What were Thomas Jefferson’s particular influences on his architectural designs for Monticello and UVA?Thomas Jefferson spent a lot of time traveling around the world. A man of exceptional intelligence, he paid attention to every aspect of the life of the countries he traveled to and found inspiration in everything he saw. His architectural style was greatly inspired by the European architecture, but Jefferson reintroduced the concept he learned about in a distinguishable American manner. The 16th-century Italian architect Palladio was Jefferson's particular influence on Monticello design. For UVA, Jefferson took his inspiration in classical European style, with Monticello again being one of the major influences. Jefferson's style was, however, quite eclectic, with minor influences including Greek, French, and Chinese architecture. What kinds of building materials would have been available to Jefferson in America? Were these materials different from the buildings he had seen in Europe? The building materials Jefferson used for buildings in America differed from one of his European influences. This fact perfectly reflected Jefferson's idea to create a renowned American architectural style. For instance, he used red brick and painted wood manufactured in Virginia. Some of the materials, however, were manufactured in Italy.What ideas was he trying to project with his designs? Do you think his designs are successful in both functionality and aesthetics?Jefferson had a strong belief in architecture as a "heart of American cause". He believed that architectural expression should help the United States to break cultural and political ties with Europe and create a unique sense of national identity. Jefferson clearly succeeded in functionality and aesthetics because his architecture reflected his progressive opinion on society and education, such as when he decided that church should not be the center of UVA's architectural composition. Architecture created by Thomas Jefferson is still praised today, and, what is more important, the buildings are still functioning.Unit 5Reflections, Option I: Why have there been no great women artists?Before the 19th century, there are only rare instances of women artists. What specific social mechanisms actually hindered women from creating great art in the past? The lack of women access to being artists was definitely not due to the lack of the artistic ability. Rather, institutional norms and mechanisms prevented women from becoming artists. Before the 19th century, there was no artistic education in the modern meaning of this concept. Most of the famous artists had famous artists as their teachers or were the members of the famous artistic family. If a woman was born into an artistic family, her relatives were not likely to stimulate artistic ability. A few artistic schools that did exist at that time did not accept women as students.Moreover, women were banned from working with nude models and exposing nudity in their artwork. The ban existed up until 19th century in many Western countries. When it was finally eliminated, a portrayal of nudity by female artists was still seen as obscene by most of the people. Finally, women were faced with many social limitations. A talent to pursue one particular thing in life was accepted in men, but not in women. Women were expected to know how to do many things that were seen as useful for them rather than excel in one talent.Why do we suddenly see women emerging as artists in the late 19th century, with figures such as Mary Cassatt and Berthe Morisot? The first female artists of the 19th century were either the members of artistic families of close friends and lovers of the famous artists, whose relatives, friends and spouses were exceptionally supportive. Mary Cassatt was a close friend of Edgar Degas and took her inspiration in his work. Berthe Morisot was a lover of Manet with an artistic style very similar to his.Does Art History as a profession bear some responsibility?Art history bears a profound responsibility for the lack of female artists. Due to the historical implications, this profession saw relevant concepts from the viewpoint of a white western male. Modern art historians are faced with the need to acknowledge the alternative value system that existed all along but was neglected.Unit 6Discussion: Unit 6 - Option 2 "Frank Lloyd Wright "Do you think he was deserving of this title, and if so why?Wright totally deserves of a title of the century’s leading architect because he is the one responsible for the re-conception of domestic housing in the United States. Wright changed the understanding of interior space by making people believe that it should be free and open instead of being box-like. The organic architecture created by FLW is needed for a sustainable future.Would you live in a FLW designed house?I would definitely consider living in one of those houses. They definitely attract me from an aesthetic perspective. I also happen to share the ideas of an architect on the need of an integration between humans and natures. Large rooms and big windows that provide natural lighting are, perhaps, the best characteristics of a FLW designed house. However, if the house is located in some place far from civilization, it would require a significant change of a lifestyle that might be challenging for me. Though not all of the modern buildings borrow FLW’s style, types of forms and plans are influenced by FLW concepts. Can you name any other architectural styles or elements he is responsible for? Frank Lloyd Wright is best known for the creation of the Prairie Style which was based on the idea that the houses were in need of fewer, but larger rooms with an easier flow. The idea was revolutionary and somehow controversial at the time. However, many contemporary styles share this idea originally expressed by Wright. The styles that developed from the Prairie Style are the Organic Style and the Usonian Style. Organic architecture advocates for the harmony between the human inhabitant and nature. The building has to be well-integrated into the site, sharing the composition with it. Usonian style is a more narrow concept of the small middle-class houses with the use of native materials, natural lighting, and radiant-floor heating.Unit 7Unit 7 ReflectionsCompare and contrast Chinese scroll (hanging and hand) painting to Japanese woodblock (ukiyo-e) prints.Which technique/format do you think requires more skill/craftsmanship on the part of the artist?All three techniques require craftsmanship on the part of the artist. For sure, Chinese scroll painting, Japanese woodblock (ukiyo-e) prints, and zen ink painting are not some “fast art” that can be created with a basic skill and the artist intent. The three techniques discussed are made in a long process that requires the author to be attentive, considerate and skillful. Perhaps, zen ink painting is the most difficult because it requires the author to enter a specific state of mind in addition to possessing a technical skill. The artist has to enter a state of meditative concentration and not think too much during working. Woodblock printing was difficult because it required collaboration of four people at once : the designer, the engraver, the printer, and the publisher. All collaborators were dependent on each other skills, which was extremely challenging.Which best expresses the artist’s vision or intent?The Chinese scroll (hanging and hand) painting best expresses the artist’s vision or intent because it allows the depiction of a long narrative that allows the author to tell one’s story in vivid details. With each scroll, the observers get to know a consecutive part of the story. Because of this, the experience of looking at the scroll painting is similar to reading the book. Naturally, the story in such painting is the best because of how detailed it is.Do you personally find one style more appealing or beautiful than the other? Cite examples from our textbook in your response. Though all three styles definitely capture my attention, I find Chinese scroll to be the most engaging out of three. The experience of looking at the hand scroll is exiting because the observer is not aware of what happens next. Handscroll requires the observer to look at it carefully because its real beauty is in the details. It seems that looking at this piece of art could never get boring because one can reveal new details with every new look.Unit 8 Discussion Forum Unit 8Every great work of architecture is somehow similar to the other because each of them has a component that makes people consider it great. Most of the places described in the unit were those of a religious worship, including the Stonehenge, the exact purpose of which is still not known to the scientists. The places of worship are all designed to evoke certain emotions in people who observe them regardless of the era in which they were created, their architectural style of whom or what they were designed to worship. This is because the sacrilegious architecture has to evoke the feelings of being connected to something bigger than the regular human life experience. What unites all of these architectural objects is that all of them were built with a great skill and determination which helped them to still exist today. The efforts put into creating each of those buildings or architectural objects were far superior to the abilities of the mainstream architecture of their respective era. Since the automatized methods of building were not available during the time any of these objects were created, the projects of them came to exist because of individuals who worked on them with their bare hands. This resulted in deaths of many workers. This fact tells a lot about the values of the cultures in which the buildings were created. The power and greatness during those time were more important than comfort and convenience. In fact, they were considered more important than the life of a human being. Contemporary architecture puts more emphasis on the value of comfort and sustainability. However, people still cherish great buildings as they remind them of that feeling of being connected to the universe.