assignment 8
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Arts Humanities
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Jan 9, 2024
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SYMBOLS UNVEILED: A
VISUAL ODYSSEY
ACROSS TIME AND
CULTURE
Jessie Brown
AC2108460
Ashworth College
Art History
Assignment 8
December 25 2023
Art serves as a timeless vessel for human expression, encapsulating cultural, spiritual, and political narratives across diverse civilizations. In this exploration of iconography, we delve into the symbolic tapestry of four artworks, each a unique testament to the richness and depth of human communication through visual language. By dissecting the intricate symbols within these pieces, we uncover the layers of meaning embedded in their historical, cultural, and artistic contexts.
Albrecht Dürer's "Adam and Eve" is an engraving that encapsulates the biblical narrative of the first man and woman (Stokstad & Cothren, 2019, p. 357). The iconography in this artwork
is deeply rooted in Christian symbolism, with Adam and Eve placed in the Garden of Eden. The serpent, tree, and forbidden fruit are crucial elements symbolizing the biblical fall of humanity (Cummings, 2013). Dürer's meticulous detailing emphasizes the symbolic nature of the elements,
underlining the moral and theological aspects of the story.
The Codex Mendoza's page depicting the founding of Tenochtitlan is an Aztec manuscript, revealing the symbolic iconography of the city's establishment (Stokstad & Cothren, 2019, p. 411). It features symbols like the eagle perched on a cactus, fulfilling a prophecy that guided the Aztecs in finding their new home (López Austin, 1997, p. 124). Symbolism extends to the representation of social hierarchy and religious practices, offering insights into Aztec political and spiritual life.
The Yoruba Crowned Head sculpture from Nigeria exhibits the iconography of Yoruba royalty (Stokstad & Cothren, 2019, p. 432). The elaborate crown signifies power and authority, and facial features convey a regal demeanor (Munoz, 1977). The use of beadwork and scarification patterns contributes to the cultural symbolism embedded in the artwork, reflecting the spiritual and political significance of Yoruba rulership.
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Faith Ringgold's "Tar Beach" utilizes iconography rooted in African American culture and history (Stokstad & Cothren, 2019, p. 581). The quilted piece combines painted imagery with fabric, creating a narrative that merges reality and fantasy (Ringgold, 1990, p. 45). Symbolism is present in the quilt's central scene, portraying a rooftop gathering, addressing issues of race, class, and aspirations. The use of fabric adds layers of cultural significance, echoing the tradition of story quilts in African American communities.
In a predominantly Christian context, Dürer's work served as a visual aid for religious contemplation. It reinforced moral teachings about sin and redemption. The Codex Mendoza documented the history and myth of Tenochtitlan's foundation, serving both as a historical record
and a spiritual guide for the Aztecs, legitimizing their rule.The Yoruba sculpture functioned as a symbol of divine kingship, embodying the spiritual and political authority of the ruler, serving rituals and ceremonies. Ringgold's piece functioned as a form of visual storytelling, addressing social and political issues in African American communities. It served as a means of cultural expression and empowerment.
While each artwork has a distinct cultural and temporal context, commonalities emerge (Stokstad & Cothren, 2019). The spiritual and political functions often overlap, as seen in the Yoruba Crowned Head and the Codex Mendoza. Both artworks symbolize authority and legitimacy, intertwining the spiritual and political realms. In contrast, Dürer's "Adam and Eve" primarily serves a religious and moral purpose, while Ringgold's "Tar Beach" engages with social and political commentary more directly.
In the 21st century, symbols continue to play a crucial role in communication, notably in advertising logos and emojis. Logos serve as visual identifiers, communicating brand values and
messages (Klein, 2000, p. 33). Emojis, akin to historical iconography, convey emotions and concepts concisely (Danesi, 2017, p. 89). As we conclude our journey through the iconography of selected artworks, we bear witness to the enduring power of visual language to encapsulate the essence of human experience. Each piece, spanning centuries and cultures, becomes a testament to the universal nature of symbols in conveying spiritual, political, and social narratives.
The intricate engravings of Albrecht Dürer in "Adam and Eve" invite us to reflect on the timeless themes of morality and theology. Across oceans and epochs, the Codex Mendoza's depiction of the founding of Tenochtitlan transcends its time, becoming a window into Aztec spirituality and politics. The Yoruba Crowned Head from Nigeria stands as a pinnacle of divine kingship, merging the realms of the spiritual and the political. Faith Ringgold's contemporary masterpiece, "Tar Beach," uses symbols rooted in African American culture to address pressing social and political issues. These artworks, diverse in origin, converge in their capacity to function spiritually and politically in their respective contexts. The Yoruba Crowned Head and the Codex Mendoza, despite cultural differences, share a common thread of symbolizing authority and legitimacy. Dürer's "Adam and Eve" serves as a moral guide, while Ringgold's "Tar Beach" offers a contemporary narrative, demonstrating the adaptability of symbolic language. As we bring our exploration to the 21st century, the use of symbols in advertising logos and emojis attests to the ongoing relevance of visual communication. Logos, much like historical iconography, identify brands and convey complex messages, while emojis succinctly express emotions in the digital age.
The analysis of these artworks not only enriches our understanding of individual cultures and time periods but also underscores the universal human impulse to communicate through
symbols. The resilience of symbolic expression, whether etched on centuries-old manuscripts or embedded in digital communication, serves as a bridge connecting humanity across time and space. As we continue to decipher the language of symbols, we unlock the profound narratives that shape our collective understanding of the world.
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References
Cummings, B. (2013). Soft Selves: Adam, Eve, & the Art of Embodiment Soft Selves: Adam, Eve, & the Art of Embodiment Dürer to Milton. Oxford University Press EBooks
, 278–326. https://doi.org/10.1093/acprof:oso/9780199677719.003.0009
Danisi, M. (2017). The Semiotics of Emoji: The Rise of Visual Language in the Age of the Internet
. https://www.researchgate.net/publication/321976795_The_Semiotics_of_Emoji_The_Rise_of_V
isual_Language_in_the_Age_of_the_Internet
Durer, A. (2019). Adam and Eve
. Metmuseum.org. https://www.metmuseum.org/art/collection/search/336222
Klein, N. (2000). No Logo: Taking Aim at the Brand Name Bullies
. https://researchgate.net/publication/318872722_No_Logo_Taking_Aim_at_the_Brand_Name_B
ullies
Lopez Austin, A. (1997). Aztec Archaeology and Ethnohistory
. Dokumen.pub. https://dokumen.pub/aztec-archaeology-and-ethnohistory.html
Munoz, L. J. (1977). Principles of Representation in the Traditional Yoruba Kingdom. Journal of the Historical Society of Nigeria
, 9
(1), 15–35. https://www.jstor.org/stable/41857050
Ringgold, F. (1990). Tar Beach
. Faith Ringgold. https://www.faithringgold.com/product/tar-beach/
Stocksad, M., & Cothren, M. (2019). Vitalsource.com. https://online.vitalsource.com/reader/books/9780135215203/epubcfi/6/2