Art is a manifestation of societal cultures, and it plays an important part in upholding these norms. Craftsmanship has survived as an expression of various people's experiences, as well as the individual's social, political, and economic existence. Art will communicate the various desires and ways of the communities; therefore, it is an essential consideration. As a result, art is important for keeping proper historical documents in order to ensure that the correct evidence about a particular time is retained or conveyed properly. Generations have relied on these works of art to learn about how others existed. This essay seeks to review the historical account of some important pieces of art to show the relevance of such ancient time.
One of the pieces of arts that I found in the CU Art Museum is the “Scenes of the Visitation and Adoration of the Magi.” The piece is made of ivory and has a light and dark brown outlook. The art has different themes with the underlying principle being religion and culture. Uniquely the art represents two registers. Firstly, on the top is a proportional representation of women wearing headdresses and dresses under an altar. The lower part is two men also under an altar. The importance of examining these features is the fact that they have some historical connotations. One can deduce that they belong to the neoclassical movement that was mainly influenced by religion as opposed to science. Thus, evaluating characteristics of art plays a significant role in understanding the cultures and the historical period within which the piece is derived or which represents.
Historically, in the image of the Virgin were subordinate to the central subject of the Apocalypse. The primary image of the church portals was normally the figure of Jesus surrounded by some features of his majesty or accompanied by images attributing his unmatched power. This historical background plays a critical role in the formulation of our knowledge regarding such pieces art particularly those dating back to 14th and 15th centuries. “Scenes of the Visitation and Adoration of the Magi” originates from France and is noted to have been crafted between 1350 and 1375. The piece if fully man-made, however, the actual artist behind the work is not precisely known. The material that was probably used in the craft is Ivory diptych because of its availability and the sentimental value attached to the art.
The context of the curving is that of the religious theme as it symbolizes the meekness of Mary and the power of the Lord. The upper region has two women whom the audience can deduce to be Mary and another woman who is apparently identifiable. The second lady seems to hold the baby in this case who assumed to be Christ. There is gentleness in the way the presentation is done which can be deduced to indicate the grace of Jesus and the compassion of Mary, the mother of Jesus.
On the second section there is a king who has a subject kneeled before him. The ruler seems to be looking away from the person. Analyzing in this context objectively, evidently, a monarch represents the earthly might to the extent of having someone bow before him. The king further seems to ignore the person by looking aside from the subject. Evidently, because of his might, the king is at liberty to do as he pleases. Ideally, the top section of the curving contradicts the second section in the way power is presented. The audience expects that Mary being the mother of Christ would attract more power; hence, have anyone who comes to her kneel or bow before her. However, this is not the case as she and her companion are all placed as at the same level. The monarch and his subject who is placed right below the section of Mary and her companion shows a different perspective in power. The king has his subject kneel before him as a sign of his might which contradict the heavenly power.
From another perspective, the piece can analyze from the social and political context. In that, it represents the social order between heaven and other whereby political powers rules earthly beings. To exercise such powers subjects are expected to be submissive and obedient to the political authority. Perhaps the reason why in this case the subject is kneeling down before the king as a sign of obedience and submissiveness. On the contrary, the heavenly power does not need political subjugation as the order is maintained differently from what is expected on the other. Perhaps the reason why Mary and the other person do not have to subject each other to the kneeling situation. Thus, the art epitomizes a different opinion regarding the social and political context of its representation and implication.
The second Ivory art that I will use to compare with one of the “Scenes of the Visitation and Adoration of the Magi” is that which has been digitized to feature two arts as one. On the right-hand side, there seems to be a preacher in the center while worshipers surround him while kneeling as if they are praying. The place seems to be a temple or any other holy place used for worshiping. There are some things that look like rays of the sun surround the head of the preacher perhaps denoting his immense powers. The man is further holding a book that can be interpreted as a holy book used for the sermons. On the left-hand side, there is some gothic or one of those Asian gods. There is so much happening on that left curving to the extent that it is not clear on what it implies. However, one thing that stands out is that it contradicts Christian faith and one can easily tell that it is one of either the old gods that people used to worship, or it is from another region such as Asia. Evidently, the theme of this curving is that of religion but not necessarily Christianity.
The title of the art is unclear and so is its year of production. However, one can assume that is created around 13th to 15th century when the style was predominant. The country of origin can be any of the European countries and mostly either Italy or France. This assumption is derived from the dress code of the worshipers and the preacher who seems to be a pope. Conversely, the relationship that exists between the two arts is based on the theme and their context. From observing the first curving, we can learn much about the second art because of the closeness of their themes. Thus, a comparative analysis helps in identification of different features and their relationship to the period within which the art was constructed. The meaning can easily be deduced from the context and the period within which the art was crafted or painted.
Additionally, Harvey notes that verticalism and luminosity inspired the French art. When looking at the two pieces of arts, it becomes apparently that they are inspired by some Christian doctrines as supposed by Harvey. Evidently, the theme can be used to deduce the originality and historical context of works of art. Through analysis of different features that is possible to link an art with the historical period within which it was created.
Conclusively, analyzing different aspects of art can offer critical insights about the piece. Historical representation of the pieces of art forms an integral part of that one can efficiently and correctly understand their meaning and the motivation behind the work. The easy has looked at two different pieces of arts. Through examining different features such as historical period, context, theme and meaning the essay has shown how it is possible to understand and appreciate different arts. Meaning can be derived from context while period can be identified through theme and the context of the art.
Bibliography
Camille, Michael. “Gothic Art: Glorious Visions.” (New York, Harry N. Abrams, 1950). 110.
Elliot, J.K., A Synopsis of the Apocryphal Nativity and Infancy Narratives. (Leiden: Brill, 2016). 146-149. search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=1179893&site= ehost-live&scope=site
Gold, Penny Schine. 1985. The Lady and the Virgin: Image, Attitude, and Experience in Twelfth-Century France. Chicago: University of Chicago Press. http://public.eblib.com/choice/publicfullrecord.aspx?p=488097.
Harvey, John. 1950. [Rezension Von:] Harvey, John H.: The Gothic World 1100 - 1600: A Survey of Architecture and Art. - Londres: B. T. Batsford, 1950.
Nigosian, Solomon Alexander. Zoroastrian Faith: tradition and modern research. McGill-Queen's Press-MQUP, 1993.
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