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Compare and contrast greek architecture to romans in relation to temples pdf
Compare and contrast greek architecture to romans in relation to temples pdf
Compare greek and roman temples
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1. Why does Carol Duncan believe that the art museum is a ritual setting?
Duncan noted that the Boston Museum of Fine Arts represents the similar architecture of a Greek temple. This resemblance can be seen in the Erechtheion, located in Athens, which exemplifies this comparison. The Erechtheion is built with Ionic orders, which is one of the three main orders that were used in classical Greek architecture. The Ionic is mostly famous for its “scrolls” that decorate the top of the column. You see the same style of columns holding up the architrave of the Boston Museum. Also visible, is the frontal staircase that leads up to the entrance, which is located just behind the columns. Indeed most of their history they were designed to resemble them.
The Greek temples and Renaissance palaces that house public art collections suggest secular values, but not religious beliefs. Museums are considered secular institutions, where “secular truth became the authoritative truth.” All secular places have rituality behind their purpose. The purpose or focus of every museum is to have the viewe...
History plays a very important role in the development of art and architecture. Over time people, events, and religion, have contributed to the evolution of art. Christianity has become a very common and well established religion, however, in the past it was hidden and a few people would worship this religion secretly. Gradually, Christianity became a growing religion and it attracted many converts from different social statuses. Christian art was highly influenced by the Greco-Romans, but it was immensely impacted by the establishment of the Edict of Milan in the year 313 AD. The Edict of Milan was so significant that scholars divide Christian art into two time periods, time before and after the Edict of Milan of 313.
The Parthenon in Athens, for example, is a dedication to Athena; the goddess of wisdom and the patron of Athens (OI). As depicted in The Parthenon at the Acropolis in Athens, Greece (Doc6), this architectural piece is shown to have Doric columns that have a cylindrical shape seeming to be plain but sturdy. In comparison to the Doric style, the Ionic style was more elegant as it was taller and more decorative; engraved with vertical lines and topped with a curved rectangular shape. The Corinthian design is similar to the Ionic design because of the elaborate designs at the end of the pillars; it features more detailed designs that seem to be based around nature such as the inclusion of leaves and flowers. There are many buildings today that include these types of columns in their architectural design mainly in monuments and government buildings. According to the depiction of the White House in Greek Architecture (Doc8), the columns of the White House most closely resemble the Ionic style. Greek architecture are one of the many important legacies that Western civilization had inherited, influencing many architectural elements and building types used in art and architecture
The Peristyle, one of the buildings that was constructed for the Fair, was designed by Charles B. Atwood. It was an ‘arcade of columns originally proposed by Augustus Saint Gaudens, the consultant on sculpture.” (Burg 79) The Perisytle was a beautiful building that followed in the traditional Greek pathway. It “was a series of forty-eight Corinthian columns, one for each of the American States and Territories, with an immense triumphal arch at the center. J The Peristyle itself was 500’ high, its top being a broad promenade populated by 85 allegorical figures in heroic scale.” (Burg 119) The Greeks used Peristyles in their architecture. A Peristyle was placed around the Greek Parthenon. Corinthian columns were created in the Hellenic era, but they had to wait until the Hellenistic era to reach their full development. J “They are distinguished by their ornate capitals with double rows of acanthus leaves and fernlike fonds rising from each corner and terminating in miniature volutes.” (Fleming 32)
Through some of these artifacts, we can see how the christian spiritual world has been shaped, leaving a great affect for the cuter generations who build off of it. and it is through Museums can future generations grow from the foot steps of the tools of our ancestors to help promote our future. Museums are also known to captivate the minds of many with the wonders of the ancient world all there to be seen and learned about. The Dunham Bible Museum accomplishes that task of offering knowledge to those who seek it through the rare and amazing pieces of history.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
The Vestibule leading to this entrance hall is identical to the entrance of the Temple of Erectheus on the Acropolis of Athens. The statues in the deep niches, carved by Frederick MacMonnies, combine “American idealism with the elegance of Second Empire Style and is in advanced realm by their lack of enframement or paneling.” The vaulted entrance hall, which leads to the grand staircase, is segmented into three aisles and is clad in Iowa sandstone. The arched central aisle has the names of prominent Bostonians inscribed on them.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
In Washington D.C., the abundance of structures representing the Greek Pantheon and other buildings suggests architects constructing the Capital Building, Lincoln Memorial, and National Archives Building had Greek and influences. The Nation Archives building (click here) closely resembles symbolizes the Greek Pantheon with its Corinthian Pillars and statues above. The outside of Lincoln Memorial (click here) was also influenced by Classical architecture. In the Google Street View of the memorial, observers may notice the Doric Pillars along the outside. Inside the Lincoln Memorial (click here) via Google Street View, observers will notice the temple like environment of this memorial. Looking to the top of the Ionic Pillars inside, viewers will notice the over hanging scrolls making these pillars distinguishable from the others. In addition to Greek influences, there are Roman influences. The Jefferson Memorial, “like Jefferson's home in Monticello, is based on the Roman Pantheon” (Fact Monster, n.d.). In the United States, the influence of Greek Classical architecture is abundant across Washington D.C. although it appears the era of Greek influence has transitioned to Postmodern
...troversy as all countries have lost, to a great or lesser extent, treasures of national renown and significance over time. Wars, theft, treasure seeking, changing boundaries and migration have all in some way contributed to this diaspora of art. There is clear evidence that the historic placing of objects in locations remote from their origin has on occasion afforded protection and preservation, The Elgin Marbles in The British Museum being a case in point. However, given the overarching principle of self determination it is difficult to argue that serendipitous historic placement is sufficient reason for items of true national heritage to be kept indefinitely. A world-wide system of touring exhibitions and cultural exchange, with context being provided by the originating society may provide the natural progression to the accessible widening of people’s experiences.
From the remarkable Roman Pantheon, dated from the second century B.C., to the Chartres Cathedral in France, which began construction in the mid-twelfth century A.D., the column is widely used according to different tastes and architectural purposes. It is a Greek creation emerged from the Archaic period between 6oo-480 B.C., during which the two elevation designs from Greek temples, called the Ionic and Doric orders, came into form. The Corinthian order is the third classical Greek architectural order originally used in interiors, which began to appear around 450 B.C. The Greeks used columns in architectures including the Parthenon, the Tholos and the mausoleums, sometimes in pairs and sometimes in colonnades. All three orders, occasionally with various different modifications, were adapted by other civilizations such as the Romans and the Etruscans. They were erected in temples, Cathedrals, Forums, on city streets or even in residents as a supporting device for arches, entablatures, ceilings or roofs. They are also incorporated in reliefs for tombs and cathedrals and expressed in Roman wall paintings. For example, the bedroom walls in the House of Publius Fannius in Boscoreale were decorated with images of columns in fantastic Roman cityscapes. (Stokstad, p.162-213, 223-283, 553-556.)
The first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
In The Sacred & The Profane: A Nature of Religion, Mircea Eliade attempts to define the sacred by stating it is “the opposite of the profane” (pg. 10). Through out the book he tries to explain this statement through the concept of hierophany (the idea that one can experience, sensorily, the manifestation of the holy/sacred), however his main explanation of the sacred being “the opposite of the profane” is the comparison of a modern religious man and a modern non-religious man (a profane man). Eliade compares the two by explaining how each would react to space, time, nature, and life. This essay will explain the idea of sacred space, how a religious and a profane man would experience it, and how the idea of sacred space might be applied to the study of medieval art and architecture.
Art through the ages has been a powerful voice for both secular and religious ideas, and the treasury of Christian art should not be relegated to museum viewing. The art should be displayed in the church were it is meant to be. Its richness can be brought to people in schools and adult study groups. This, in turn, can help to bring art up to the level, that the faith deserves. Churches should fill the walls with art to show what happened throughout the bible. Art creates connections and associations between what we see and what we sense happened. Both ritual and art challenge us to take us beyond the immediate, if they are to bring about true insight and transformation in our lives.