QUESTION: Using specific art refernces, why did the Greeks consider "beauty" to be the same as "truth" and how different was this philosophy from that of the Romans?
PART ONE:
SUMMARY: What I experienced in my attempt to answer this Topic Question was the difficulty in finding the right information on beauty, truth, and reality and how to incorporate it correctly in the essay.
REASON: The reason this question was asked was to see how different these two cultures are in perceiving their truth.
PURPOSE: The purpose this question was asked was to better understand the art of these cultures and how it relates to their perception of truth.
DIRECTION: I read any information I could find on Greek and Roman art, since all I knew of both cultures was its mythology.
IMPRESSION: I struggled mostly writing this essay than I did with the previous two essays. I did learn about some of Plato philosophies.
The Greek Classical art has a connection with humanism, rationalism, and idealism (Art History 4th Edition, p 119). “The ancient Greeks…followed these injunctions in their art: … [to] seek an ideal based on the human form;…seek the inner significance of forms; and …reproduce only essential forms” (Art History 4th Edition, p 119).
The Charioteer, a bronze life-size statue, memorializes the achievement of a driver in the Pythian Games (Art History 4th Edition, p 125). “The face of this handsome youth is highly idealized…” (Art History 4th Edition, p 125). The youth’s solemn face is attributed to the fact that the Greeks believed that the show of emotions publicly was a sign of barbarism (http://www.greeklandscapes.com/greece/athens_museum_classical.html). The figure stands straight looking regal in a long folding robe(Art History 4th Edition, p 125).
The Warrior, a bronze statue, blends the idealized “perfection” with the details in the body found through nature in observation (Art History 4th Edition, p 125). The placement and details from the copper lips and nipples, to the colored glass and bone eyes, and silver teeth are elements that continue in the “High” Classical period. The figures stance is that of a contrapposto (Art History 4th Edition, p 125).
“Studying the actual human beings closely and selecting those human attributes they [sculptures] considered most desirable…[were] combined…into single ideal of physical perfection” (Art History 4th Edition, p 134). Polykleitos was a sculptor of the High Classical period (Art History 4th Edition, p 134). He developed rules for proportions, written down and shown in the Doryphoros. Both are known as “The Canon” (http://www.encyclopedia.com/topic/Polykleitos.aspx). This figure is positioned with it full weight on the right leg (contrapposto) and a spear in its left hand over its shoulder (http://www.encyclopedia.com/topic/Polykleitos.aspx).
Unlike Greek artists, which focused on the idealized human form, Romans emphasized realism in the rendering of portraiture (http://www.encyclopedia.com/topic/Polykleitos.aspx). “The …portraiture in Roman art may stem from the early practice of creating likenesses… of revered figures and distinguished ancestors for display on public occasions… [and] funerals” (Art History 4th Edition, p 170). The faces in these sculptures captured every aspect of the individual including its advanced age, as seen in the image above (Art History 4th Edition, p 171).
The Portrait Of A Married Couple is an example of realism in still-life and portraits of Roman art. This portrait was discovered on one of the walls of Pompeian houses (Art History 4th Edition, p 185). The details, space and placement of facial features gave away the fact that these are painted observing this individuals closely. (Art History 4th Edition, p 187).
Compare & Contrast - The Great Divide and the Final Curtain
INSTRUCTIONS: Find and post the images of the artwork(s) mentioned in the Topic Essay Question. QUESTION: Describe the Egyptian papyrus painting popularly referred to as the Last Judgement or Final Judgement with that of the sculpture Last Judgement by Giselbertus. How do the two compare with the Last Judgement by Michelangelo Buonarroti?
PART ONE:
SUMMARY: What I experienced in my attempt to answer this Topic Question was how difficult it was, at first, to find information on Giselbertus and Michelangelo's Last Judgement.
REASON: The reason this question was asked was to see the similarities and differences between the same subject matter.
PURPOSE: The purpose this question was asked was so that we can understand how the core elements, although portrayed in different beliefs, were uncannily the same, and how they evolve with with time and cultures. Also, so that we can understand how we, as individuals, can interpret things differently, which means that reality is subjective, but should be open to new and different realities.
DIRECTION: I mainly focused on Giselbertus' Last Judgment and Michelangelo's Last Judgement fresco painting, as well as some mythologies.
IMPRESSIONS: Since I learned more about Egyption afterlife with the previous essay, I mainly focused on the other two artworks. I learned how time periods and what is happening around you influences your way of thinking and the way you perceive things, specifically in art.
PART TWO:
In Ancient Egypt, it was believed that a heart free of sin would guarantee a gratifying afterlife. The deceased would undertake two tests that were assigned by the god of the dead, Osiris, and overseen by Anubis, the jackal-headed god (Art History, M. Stokstad/M.W. Cothren, p. 76). The heart, where the Egyptians believed the soul resided, would be weighed on a scale alongside Ma'at's "feather of Truth." The goddess Ma'at represents truth, order and justice (Art History, M. Stokstad/M.W. Cothren, p.77).
Source LinkEgyptian papyrus painting of "Last Judgement"
The image above was taken from Hunefer's "Book of the Dead". The painting depicts three distinct phases of Hunefer's afterlife (Art History, M. Stokstad/M.W. Cothren, p.77). He is being led by Anubis (at the bottom-left) to the "Hall of Truths" towards the center where Hunefer's heart will be weighed by Anubis. If the heart weighs less than Ma'at's feather, he could pass on to the afterlife, if not, then he would be consummed by Ammut (the fusion of a lion, hippopotamus and crocodile) demon (http://www.crystalinks.com/egyptafterlife.html). Thoth, the ibis-headed god, waits for the results of the test so that he can record them (Art History, M. Stokstad/M. W. Cothren, p.78). The falcon-headed god, Horus, presents Hunefer to Osiris, who is seated on his throne in the right side of the papyrus (http://www.crystalinks.com/egyptafterlife.html). On the top of the papyrus, Hunefer is seen kneeling before the judges, having been accepted in to the afterlife (Art History, M. Stokstad/M.W. Cothren, p.78).
The Romanesque Church Portal's central element is the semi-circle structure known as the tympanum, which sits above the lintel (Art History, M. Stokstad/M.W. Cothren, p.473). On St. Lazare Cathedral's west portal, the story of the Last Judgement is sculpted (Art History, M. Stokstad/M.W. Cothren, p.477). Done in the 12th Century, it is believed that Giselbertus was the main sculptor (Art History, M. Stokstad/M.W. Cothren, p.478). The reason behind this conclusion is the inscription under Christ's feet which says "Giselbertus made this" (Art History, M. Stokstad/M.W. Cothren, p.478).
Since most people were illiterate in the Middle Ages (12th Century), biblical stories were depicted in paintings, sculptures, and through other mediums."The images are text, meant to be read" (Video, Tympanum of the Last Judgment, Autun).
Christ, at the center, is the largest figure which is sitting on his throne inside a mandorla (a full body halo - representing his divinity) and is surrounded by angels clutching the halo as if it were heavy (Video, Tympanum of the Last Judgement, Autun).
Christ, who has returned to earth, stares out in judgement (Video, Tympanum of the Last Judgement, Autun) at the bodies depicted along the lintel rising from the tombs. The condemned, tortured souls headed for hell are at Christ's left, and the blessed souls headed for Heaven are at his right (Art History, M. Stokstad/M.W. Cothren, p. 477).
On the bottom left part of the Tympanum, archangel Michael weighs souls while demons try to tip the scales of the sinners to gain souls for hell (Video, Tympanum of the Last Judgement, Autun). The grotesque figures of the demons and the souls being pulled to hell, instill fear on the viewers, making them aware of what is to come if they do not ment their ways (Art History, M. Stokstad/M.W. Cothren, p. 479). There is a message written underneath the condemned which says: "Here let fear strike those whom earthly error binds, for their fate is shown by the horror if these figures..." (Art History, M. Stokstad/M.W. Cothren, p. 477).
On the top right part of the tympanum is the "Virgin Mary enthroned" in heaven with an angel at her side blowing a trumpet to wake the dead and announce the coming of Christ. Angels welcome the blessed to Heaven (Video, Tympanum of the Last Judgement, Autun). Underneath the figures the words: "Thus shall rise again everyone who does not lead an impious life, and endless light of day shall shine of him..." (Art History, M. Stokstad/M.W. Cothren, p. 477).
The scale, compared to the others, and the central position of Christ's figure (which is elongated and symmetrical) emphasizes its hierarchy, while the mandorla and his throne represent his divinity and power (Video, Tympanum of the Last Judgement, Autun).
This sculpture is similar, yet different, to the Egyptian's Last Judgement. Osiris, who is also seated on his throne, is not larger nor is he positioned at the center of the illustration, although his throne is elevated, making him seem taller than the other figures. He does, however, wear the "...White Crown of Lower Egypt...[while holding] the shepherd's crook to symbolize his role as shepherd of mankind..." (http://www.crystalinks.com/egyptafterlife.html). This is parallel to the Christian belief found in Psalm 23:1, which says: "The Lord is my shepherd..." On his other hand, Osiris holds "the flail, to represent his ability to separate the wheat from the chaff" (http://www.crystalinks.com/egyptafterlife.html).
The weighing of the souls is a recurring element in both works. In the Egyptian version of the Last Judgement, Anubis leads the dead to the underworld and weighs their soul against Ma'at's feather. The archangel Michael has combines Anubis' duties with Ma'at's justice since the archangel is "generally depicted with his sword of Mercy or Justice..." (http://www.nasrinsafai.com/angels/archangel-michael/). On both art works, once the deceased passes the test, they are welcomed to a joyful afterlife. On the other hand, should they fail, in Christian belief they are cast to Hell, while the Egyptians believed that their soul would be consummed by Ammut.
The painting illustrates the events before the sentence is cast upon the souls in the Last Judgement. Christ commands attention while placating the agitated. Mary, the Saints, and Elect, surrounding Christ, nervously wait for his decision. On the lower central section, the dead rise at the sound of trumpets, while at the left, the awakened ascend to Heaven (http://mv.vatican.va/3_EN/pages/x-Schede/CSNs/CSNs_G_Giud.html).
Once again, as with Giselbertus' sculpture of the Last Judgement, there is a conflict between angels and demons. While in Giselbertus' work, the angels cheat by tipping the scales, in Michelangelo's work, they physically fight. The weighing of the souls, featured in many of "Last Judgement" works, has been omitted from Michelangelo's work (Hall, p. 89).
At the bottom, Charon (the ferryman of Hades) can be seen taking the condemned to Minos (an underworld judge) (http://mv.vatican.va/3_EN/pages/x-Schede/CSNs/CSNs_G_Giud.html). Michelangelo has changed the concept of a calm God seated in his throne seeing everything without acting or reacting (Hall, p.89) as is seen in the Egyptian papyrus and St. Lazare's west portal. Instead, he created a standing and commanding prescense actively moving in space (Hall, p.89).
Even though the three art works deal with the same subject matter (the afterlife), it is clear that the time one lives in, and what is happening around us, influences the way we think and influences our beliefs. The Book of the Dead (which depicted Egyptian beliefs about the dead adn the afterlife) spread out so much so, that, by the 17th dynasty, royalty wasn't exclusive in owning this text (http://www.crystalinks.com/egyptafterlife.html). The Judgement of Hunefer before Osiris is from the 19th dynasty (Art History, M. Stokstad/M.W. Cothren, p. 77). This shows how the belief in an afterlife still held importance in Egypt. During the Romanesque period, facades with sculpted portals told moving stories, which was very common and culturally accepted (Art History, M. Stokstad/M.W. Cothren, p. 473). The Tympanum of the Last Judgement is an example of how the beliefs of this time period influenced a society. Michelangelo'sLast Judgement was done in the 16the Century, around the time when the Protestant Reformation and Catholic counter-reformation was occurring (Hall, p.88). Although these three societies were different in culture and time period, they still had the same belief in an afterlife.
Work Cited
Hall, Marcia B. "Michelangelo's Last Judgement: Ressurrection Of The Body And Predestination." Art Bulletin 58.1 (1976): 85. Academic Search Complete. Web. 29 Sept. 2012.
