When it comes to faith
Many people have different methods of presenting their God according to their trust that supports them. In Egypt, it is believed that the Christians were the human beings who were greatly worried in presenting their God in the form of icons and physical figures which they could see and worship. The art of drawings was also involved in the worship occasions in which most of the worshipping events of God through the pix and drawings took place in the temples and the holy places of worshipping such as the shrine. These pictures that represented Christ were not solely for being worshipped, but they were additionally involved in spiritual powers such as healing, providing, and blessing the Egyptians. Most of the Christian would touch, kiss and worship the Christ icons in order to be served by the powers of the icon.
Mark and Judd's untitled
Both Mark and Judd are artists who specialized in the work of drawing icons that presented Christ. Although they both did the same work each of them had his own stylistic movement that he used in presenting his work to the public. David used the stylistic method of form and color since he aimed at achieving the goal of bringing out the human emotions by including all the colors. During his period as an artist, he got the opportunity to state that he will not reveal his works narrative titles since he aimed at giving the viewers the chance to experience the scenes individually. On the other hand, Judd as an artist used the stylistic method of using steels with the aim of focusing the viewer's attention by placing the boxes in an orderly manner. The main reason Judd refused to mention his works narrative is that he wanted the people to acknowledge the artist as the creator and to display any underlying message to the public.
Works cited
Innemée, Karel C. "Veneration Of Portraits, Icons, And Relics In Christian Egypt." Visual Resources, vol 19, no. 1, 2003, pp. 57-66. Informa UK Limited, doi:10.1080/0197376031000078521.
Peers, Glenn. "Icons' Spirited Love." Religion And The Arts, vol 13, no. 2, 2009, pp. 218-247. Brill Academic Publishers, doi:10.1163/156852909x422746.
