Reflection Paper.Art and Faith Simple Assignment.edited
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Art reflects faith
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Art reflects faith
An integral part of Christianity is its artistic expression. The history of Western religious
and ecclesiastical art and the history of Western art were almost similar up to the 17th century.
On the other hand, Christian art was scarce in the early church's history, and the church fiercely
opposed it. Christian art was likewise in short supply due to the need for more affluent
customers and the impending construction of massive structures. The Christian church started to
create early examples of pictorial art in the late 2nd century, and by the mid-3rd century, artists
were drawing inspiration from both pagan models and Christian subjects. After the Roman
emperor Constantine legitimized Christianity and supported the faith in the early fourth century,
pictures started appearing in churches and quickly became an integral part of Christian popular
piety. Whether in ancient Roman and Egyptian glyphs or the architectural designs of early
Christian basilicas, art is an expression of faith that reflects the intricate connection between the
divine and human experience.
In ancient Egypt, art was saturated with religious beliefs, which reflected profound
reverence for a polytheistic pantheon. Glyphs, which were displayed largely in temples and
tombs, were a visually expressive language to convey religious rituals, divine symbols, and
sacred narratives (
Fujimura,2021)
. The intricate carvings on monumental structures such as the
Sphinx and the Great Pyramid of Giza demonstrated architectural skills and represented
connections between pharaohs and gods.
Art in ancient Rome performed various roles in expressing religious beliefs. Roman
religious art often featured gods, goddesses, mythological scenes, and religious rites. Temples
dedicated to different gods had highly decorated sculptures and reliefs, which served as places
of worship and artistic expressions of faith (
Grabar,2023)
. Roman mosaics, frescoes, and
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sculptures, which portrayed religious themes and stressed the importance of devotion to
godliness, were common sights in both public areas and private residences.
Visual Evidence
Visual Evidence Example 1
Visual Evidence Example 2
Visual Evidence Example 3
Caption Information
Artist:
unknown (Ancient
Egyptian)
Title:
Palette Of Narmer
Date:
Late Predynastic Period,
c. 3100-3000 BC
Materials:
Slate
Size:
Approximately 25 inches
tall
Gallery of physical location:
Various archaeological sites
City:
Various Cities (Primarily
discovered in Hierakonpolis)
Caption Information
Artist:
Uknown
Title:
Basilica of Santa Sabina.
Date:
Constructed between 422 and
432
Materials:
Architectural details often
included brick and wood; specific
decorative materials may vary.
Size:
Varies based on architectural
components
Gallery of physical location:
On-site at
the Basilica of Santa Sabina, Rome
City:
Rome, Italy
Caption Information
Artist:
Uknown
Title:
Old St. Peter's Basilica
Date:
Ancient
Materials:
Stone and brick
construction, with marble
columns and decorations. The
roof structure likely included
timber.
Size:
Large
Gallery of physical location:
City: Rome (Italy)
Arguing with Visual Evidence
Visual Evidence Example 1
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The Palette of Narmer is an extraordinary reflection of the theme of faith in ancient
Egypt. This object is a visual story deeply rooted in religious beliefs in the late predynastic
period, approximately 3100-3000 BC. The elaborate scenes on the palette represent King
Narmer's linkage to the divine, represented by the loving gazes of Hathor and Horus, who are
depicted as birds (
Grabar,2023)
. The headgear worn by Narmer represents Upper and Lower
Egypt crowns that denote political power over the two regions and sacred ownership under
godly rule. It implies a deeper religious meaning to use it for eye makeup since it could be
perceived as a mere cosmetic act but more of a ceremonial one beyond adornment purposes.
Moreover, the visual representation of the faith of ancient Egyptians in their rulers as
divine figures is achieved through the deliberate placement of Narmer centrally, his
commanding size, and the presence of symbolic elements like maces and crowns. Therefore, the
Palette of Narmer becomes a visual scripture whose main message is the inseparability between
faith, ritual, and political authority in an Egyptian worldview. Each detail carved on the palette
tells a story about the depth of faith in the divinity of leaders. Hence, it is a remarkable artifact
reflecting how deep faith runs in ancient Egyptian society's spiritual fabric.
Visual Evidence Example 2
The Basilica of Santa Sabina, built in Rome between 422 and 432, is an example of a
structure related to religious faith by its architecture and ornamentation. Contrary to the classical
inclinations of early Christian structures like the basilica, it sought primarily to express spiritual
ideas rather than teaching through art or architecture. The entrance chain, which leads towards
the altar at the apse, has a special meaning as a sacred path is found within it. This change from
traditional classical orders to creating simple but soulful designs corresponds with early
Christian beliefs focusing on divinity rather than physicality.
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The use of light in Santa Sabina is a profound symbol of divinity and faith, as can be
seen in the shimmering effect of its glass mosaic tiles. In this context, Christ as light supersedes
this matter. A case in point is other Constantinian basilicas, like the Holy Sepulcher Church,
with lavish descriptions that underscore their spiritual grandeur. Consequently, the Basilica of
Santa Sabina portrays the theme of faith by emphasizing spiritual effects, applying light
symbolism, and forsaking ancient architectural conventions in preference for a particularly
Christian style.
Visual Evidence Example 3.
When exploring the architectural design of Old St. Peter's Basilica, one can see a
physical embodiment of the faith. This basilica is not simply a massive structure but proves that
art has historically been used to express religious beliefs. The plan was modeled after Roman
basilicas and audience halls to show the intention of incorporating historical and sacred factors.
The basilica was put on Vatican Hill because it was considered the burial place of Saint Peter, a
clear indication that faith and architecture were fused. The choice by Constantine to build this
basilica on such holy grounds establishes how deep the association between belief systems and
sacred spaces extends. As influenced by Solomon's Temple, this design further reaffirms
religious undertones associated with architectural decisions.
The interior is filled with art works such as mosaics and frescoes, which tell biblical and
religious stories. The Navicella mosaic by Giotto di Bondone portrays St. Peter walking on
water, even though it was partly damaged in renovation work, meaning the text can be seen
through its pictures.
Moreover, even though they may not have come directly from the Temple of Solomon,
the basilica's altar has been made from Solomon columns, symbolizing the continuity of faith
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over time and structures. Gian Lorenzo Bernini has later taken these up in his new St. Peter's
Basilica to remind people about past times and present ones; at the same time, they send a
message that religious beliefs are everlasting.
Generally, the diverse ancient art forms, such as the Palette of Narmer, Basilica of Santa
Sabina, and Old St. Peter's Basilica, demonstrate a deep connection between art and faith. These
objects and architectural marvels transcend time and tell stories that are not only about religious
belief but also the changing ways in which people have related to what is considered sacred.
From complex Egyptian rituals to Christian shifts in architectural styles, these instances
emphasize how art has always been a way for humanity to prove his faith, showing that cultures
worldwide have had different conversations with the divine over centuries.
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References
Fujimura, M. (2021).
Art and Faith: A Theology of Making
. Yale University Press.
Gombrich, E. H. (2023). Art and Illusion: A Study in the Psychology of Pictorial Representation-
Millennium Edition.
Grabar, A. (2023).
Christian iconography: a study of its origins
(Vol. 10). Princeton University Press.
Nyord, R. (2020).
Seeing perfection: Ancient Egyptian images beyond representation
. Cambridge
University Press.