scholarly journals APPLICATION OF THE PROPORTION THEORY TO FORM DESIGN1

2018 ◽  
pp. 121-122
Author(s):  
Vera de Spinadel
Keyword(s):  
Middle Ages ◽  
Roman Art ◽  
Harmonic Forms ◽  
Sacred Art ◽  
Human Culture ◽  
Proportion Theory ◽  
Art And Architecture

Throughout the evolution of human culture, starting from the early Prehistory, following with the sacred art of Egypt, India, China, Islam and other traditional civilizations, the designers had tried to produce harmonic forms that simultaneously were particularly beautiful. This objective dominated Greek and Roman art and Architecture, persisting in the movements of the Gothic Middle Ages and later on, in the Renaissance.

Visual Arts: Reformation and Counter-Reformation (Reforms of Trent and Catholic Art)

2021 ◽  
Author(s):  
Richard Viladesau
Keyword(s):  
Middle Ages ◽  
Old Testament ◽  
16Th Century ◽  
Primary Concern ◽  
Sacred Art ◽  
Positive Attitudes ◽  
Wide Range ◽  
Counter Reformation ◽  
Devotional Practices ◽  
Fitting In

The reformers of the 16th century brought to the fore questions regarding sacred images that had arisen in the context of changes in society, religion, and art in the late Middle Ages. Late medieval Catholicism already produced warnings against idolatry in the cult of images, superstition, and the misuse of popular devotional practices for monetary gain. Reformation-era re-evaluations of sacred images arose primarily from three overlapping impulses: (1) the humanistic enlightenment and critique of external religion; (2) concern for the Scriptures, including the Old Testament prohibition against idolatrous images; and (3) the ethical complaint against ecclesiastical luxury and neglect of the poor. Some of the Reformers fostered a more or less complete iconoclasm (e.g., Karlstadt, Bucer, and Hätzer). Others had positive attitudes toward art in general, but had reservations about religious representations (Calvin). Yet others had more ambiguous attitudes. Zwingli thought that images are inherently dangerous because of the temptation to idolatry, but his position softened toward the end of his life. Luther’s ideas on sacred representations changed through his career from a somewhat negative to a fairly positive evaluation. He held that the Old Testament prohibition pertained only to idols, not to images themselves. His primary concern was that images and devotion to them could foster a spirituality of external works as the means to salvation. This problem could be met by uniting images with texts and stressing their didactic function. The Council of Trent dealt with sacred art in 1568. The Council agreed with the reformers that abuses were possible in the cult of the saints and in the use of art, and also that much of the art itself was “inappropriate” for sacred use because of its worldliness. However, its decree insisted on the validity and usefulness of images and their veneration. The decree of Trent did not give specific guidelines for sacred art, but only general principles, leaving implementation in the hands of bishops. The vagueness of Trent’s decree made room for a wide range of practical judgments about what was “appropriate” or “fitting” in sacred art. But in the second half of the 16th century, several bishops and theologians wrote treatises on painting to guide artists. The Tridentine reforms, although put into practice in varied ways, included several general characteristics: (1) elimination of “sensual” and secular elements from sacred art; (2) faithfulness to Scripture and tradition; (3) concern for doctrine and devotion above artistry; (4) use of art as a means of education, indoctrination, and propaganda; (5) the valuing of visual naturalism; (6) polemical concentration on contested dogmatic themes in content; and (7) the sensual as a means of entry into the spiritual. With the advent of the Baroque in the later stages of the Counter-Reformation, a spirit of triumph prevailed. Art that was pleasing to the senses brought an atmosphere of spiritual exaltation. Baroque art was purposefully theatrical, artful, and dramatic. An unintended result of the image controversies was the separation of sacred and secular art and the formulation of separate criteria for each.

Introduction

2020 ◽  
pp. xx-19
Author(s):  
Joanne Parker ◽  
Corinna Wagner
Keyword(s):  
Middle Ages ◽  
Social Life ◽  
Language Politics ◽  
Economic Discourse ◽  
Romantic Poetry ◽  
Cultural Movements ◽  
Gothic Novels ◽  
Church Building ◽  
Art And Architecture

The introductory chapter charts the evolution of Victorian medievalism in art and architecture, literature and language, politics and social life in Britain, but also in Europe and the Americas. The introduction compares and contrasts what were often described as the two great cultural movements of the century: medievalism and classicism. It examines the turn toward the Middle Ages in earlier eras, and traces the various nineteenth-century offshoots of this turn, including antiquarian collecting, Romantic poetry, Gothic novels, Pre-Raphaelite painting, church building in New Zealand and Canada, popular music and dance, colonial economic discourse, and in the language of Toryism, radicalism, High Church Anglicanism and even utilitarianism. The introduction describes how Victorian medievalist architecture, art, and literature are finally receiving the attention and appreciation they deserve—far more than they had received throughout much of the twentieth century—from scholars, curators, collectors, conservators, town planners, and members of the general public alike.

The Irish and Welsh Middle Ages in the Victorian Period

2020 ◽  
pp. 214-234
Author(s):  
Huw Pryce
Keyword(s):  
Nineteenth Century ◽  
Middle Ages ◽  
Literary Texts ◽  
Modern Literature ◽  
Medieval Church ◽  
Victorian Period ◽  
Long Term Consequences ◽  
Art And Architecture ◽  
Medieval Ireland

This chapter compares how the Irish and Welsh of the Victorian period engaged with their respective medieval cultures and histories. Although medieval Ireland and Wales both produced extensive and varied literatures in Celtic vernaculars and experienced English conquest that had major long-term consequences, they also differed in important respects. The same is true of the post-medieval histories of both countries. These differences in turn help to explain why uses of their medieval legacies by the nineteenth-century Irish and Welsh reveal significant contrasts. After outlining the contexts in which engagement with medieval culture and history took place, the discussion focuses on the significance attached to the Middle Ages in understandings of the Irish and Welsh pasts; idealizations of the medieval Church and secular rulers; medieval influences on art and architecture; and the editing and translating of medieval Irish and Welsh literary texts, together with medieval influences on modern literature.

Roman Art and Architecture

1965 ◽  
Vol 59 (1) ◽  
pp. 15
Author(s):  
Lucy Shoe Meritt ◽  
Mortimer Wheeler ◽  
George M. A. Hanfmann
Keyword(s):  
Roman Art ◽  
Art And Architecture
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