Characteristics Of Hagia Sophia

OUR LADY MARY OF ZION: AFRICAN DEPICTIONS OF THE CHRISTIAN MOTHER OF GOD Rachel Heiderscheidt 11 December 2015 ART 311 Riep  The Catholic cult of the Virgin has spread its influence throughout the world over the centuries. In this paper, I will compare Marian imagery from three different African cultures: ancient Egypt, Ethiopia, and the Kongo people in the Democratic Republic of the Congo to a typical example of Western Marian iconography in order to explore the ways in which each culture has taken existing icon types and expanded upon them, bringing their own unique cultural identity to the table. In this way, we can see not only the unique stylistic elements of each culture, but the depth of devotion the figure of Mary, and mother

The title of the picture I chose was The Good Shepard. It was a picture in chapter nine with an artist that is unknown. This picture took place in about 300AD. It was founded in one of the largest catacombs in Rome, the catacombs of Domitilla. when the sculpture was founded the legs were cut off, so those were restored by the Greeks at the time, so the sculpture stands about three feet tall.

Augustus of Prima Porta and the House Altar Depicting Akhenaten, Nefertiti, and Three of their Daughters both employ symbols and narrative drama to showcase the ruler’s accomplishments and reinforce their right to rule. The statue of Augustus of Prima Porta was made by the Romans in around 15 C.E., during the Imperial Roman Period. The Augustus of Prima Porta statue is a subtractive statue made out of marble. This statue is in contrapposto, a human body with a twisted axis and is a perfect model of symmetria, or cross balance. The function of these techniques was to show perfection.

One of these being the Hagia Sophia, known for being a fundamental landmark for the Byzantine Empire. Turkey has come a long way from being controlled by the Ottomans. They struggled many hardships, but were able to overcome and accomplish much. Now standing tall and proud to represent their history.

This story is told much the same way, the unicorn represents Christ and the hunters represent the Romans. It is the story of the Romans turning on Jesus and crucifying him only for him to rise again. The crucifixion is seen in the sixth tapestry when the hunters kill the unicorn, and the resurrection is seen in the seventh tapestry when the unicorn lives again. The virgin is then seen as a representation of Mary, and the relationship she had with

On the right panel he 's surrounded by angles and apostles. Jesus looks majestic and triumphant in a red robe. Jesus has a yellow glow around his hands and feet that emphasize his puncture wounds from the crucifixion. Mary and John the Baptist are to his left and right, looking up to Jesus. The angels surrounding Jesus seem to be playing instruments and two are holding up the cross.

Additionally, the use of copper adds to the holy iridescence of the painting and Virgin Mary as the way the sunlight reflects on copper gives it a luminescent shine that glows from beneath the paint. The painting is also bordered by a golden frame and has golden details throughout the painting, such as the golden sun rays radiating form Virgin Mary. The Virgin Mary is depicted wearing a golden crown and a robe studded with gold stars and bordered in gold. She is wearing a golden cross pendant and golden bracelets on both her hands. Enriquez’s utilization of the color gold gives the Virgin Mary a regal aura and establishes her importance by dressing her in one the world’s most coveted and reverenced metals.

Two very important historic buildings from the Greek and Roman civilizations, namely the Parthenon and the Pantheon respectively, are worthy of academic exploration. An analysis of their function and style will help to put their design and features into perspective, and create a better appreciation for their emulation in Western civilization. These buildings possess very unique individual characteristic designs, which bears testimony to the societies from which they originate. However, they are also a resourceful database of knowledge in terms of their symbolism, rich heritage of their era and application to the present civilization.

Justinian chose to enforce Christianity as the official religion of the Byzantine Empire, hence unifying society through the belief in Jesus Christ. This differs from ancient Rome where there was no official religion enforced. Justinian built the Hagia Sophia, an incredible and “exceedingly beautiful” (Document 4) church in Constantinople. This helped enforce the religion into people’s daily lives because everybody who walked into the church believed in God because it was universally understood “[that] by the influence of God...this work has been perfected” (Document 4). Because the architecture and vibes inside the church were so strong, people began to believe in the religion and create a different culture than ancient Rome.

Many buildings in the earlier days were built for the same reasons and by similar people, meaning the Hagia Sophia and Charlemagne’s Chapel don’t differ much in terms of being built. The Hagia Sophia in Istanbul was originally built under Constantine the Great until it was demolished and rebuilt between 532 and 537 under the Byzantine Emperor Justinian I (Hagia Sophia, Istanbul 1). Justinian’s Basilica is considered the perfect example of the Byzantine culture and the structures produced during its

To be closed is to conceal the end from those who do not seek. To be opened is to allow the devotee to find salvation. The Metropolitan Museum of Art’s Shrine of the Virgin Mary, from Rhine Valley, Germany circa 1300 AD, is a Vierge ouvrante which is “a form of devotional sculpture, whose exterior resembles traditional cult figures of the Virgin and Child, yet is fashioned so as to open at the center,”. The outside of this sculpture features a “tender representation” of the enthroned Virgin Mary nursing the Christ Child. The Virgin Mary does not engage with her son, though.

The prophets in the painting of Giotto all the prophets were positioned different and all the angels and prophets are looking at Mary and Jesus and the prophets are all behind the angels. The angles and the prophets were facing towards Mary and Jesus that represents humbleness and respect to Mary because both Mary and Jesus are holy. Madonna has Jesus sitting down on her lap and it looks very natural the way Jesus is positioned. Cimabue painting of Jesus sitting down in Mary's lap he looks very stiff and is positioned straight. Both paintings are so wonderful and unique they are quite similar to each other but have a different tradition and culture value behind it and both having a different way of recreating the painting of the Virgin and Child

The Pantheon and Brunelleschi 's Dome in Florence both share a common idea of the dome in ancient history. They were built and different times, the Pantheon and Brunelleschi 's Dome differ in both design and architecture. This paper is going to analyze the Pantheon in Rome and Brunelleschi 's Dome in terms of their constructional and design techniques, and their historical circumstances of the construction of them both. The Pantheon is one of the remaining and properly maintained buildings of the first century.

Amidst the gondolas and waterways of Venice, Italy lies an iconic and historic center of worship. Saint Mark’s Basilica, built over a thirty- one year span from 1063 to 1094, has been used for Roman Catholic mass services for almost 1,000 years. Home to extensive mosaics and stunning architecture, Saint Mark’s Basilica stands as a testament to the splendor and religious importance of the eleventh century. The complex architecture of Saint Mark’s Basilica blends techniques from three different cultures/ eras. One can identify elements of both Byzantine, Gothic, and Italian architecture in Saint Mark’s Basilica (San Marco Basilica).

The main dome has an outer wood shell structure, inside the shell is a gold mosaic, at night the dome can be illuminated with light to a give an amazing glowing look. Interior: In the inside of the men’s prayer hall, the internal wall are clad in off-white and gray Italian marble, with carving of Qur’anic calligraphy as well as geometric patterns, and niches of Persian designs. The ceiling have marble centered with floral pattern, aligned with Islamic arches, and the Mihrab is made out of blue mosaic with Muqarnas design.