Art Parthenon and the Ara Pacis - Essay Example

Key Words: Romans, Greeks, Partenon, Ara Pacis, art, Polytheism, Monotheism Art History Qn Symbolic Architecture Comparison between Parthenon to the Ara Pacis a) The core roles of both the Parthenon and Ara Pacis buildings Parthenon and Ara Pacis buildings served as symbols of religion or worship besides other varying roles attached to them by their respective people. However, the weight of worship represented by each structure differed across the Greeks and Romans respectively. For illustration, Romans’ core purpose of erecting Ara Pacis (peace alter) besides symbolizing religion was to honor the return of king Augustus from war and the state’s army supremacy (Gardner & Kleiner 176). Mainly, this was due to the achievements he attained during the Spain and Gaul civil war though the Romans continued to remain under his dominion. Ara Pacis alter symbolized peace and fertility, which the Romans after the civil war enjoyed especially during the Pax Romana period (Kellum 26). Conversely, Parthenon was an Athenian temple purposely erected for worshiping. In addition, the erection of the temple was to honor their goddess by the name Athena whom they believed granted them prosperity and power, which they enjoyed contrary to their neighboring counterparts especially the Romans (Beard 44). Primarily, this was during Classical Greece period when the Greeks had an immense influence on Romans besides Western Civilization (Beard 101). b) Ideals and values To Greeks, Parthenon symbolized the ideal of perfection, which each person anticipated achieving in life contrary to the other people. This is because they deemed other people did not have any ideals or values, which they lived by or guided them to be different from the mere humanity. It also depicted their way of life, which entailed attention to fine details in all the tasks they undertook, hence differentiated them from other uncouth populace. Additionally, Parthenon expressed the Greeks’ aspects of harmony, balance and organization or order evidently in its mode of design. The most pronounced ideal conveyed by Ara Pacis was the power, which emanated from the ascendance of empire’s generals (Kellum 26). This was after the return of King Augustus where his allies assumed diverse positions in his authority (Buxton & Kleiner 61). Besides, there was emergence of foreign children (evident in Fig. 3) into the Roman, which implied that the state was the center of attraction and comfort (Buxton & Kleiner 57). Hence, the entire world can come and inhabit in Rome due to the peace maintained by King Augustus’ authority. c) The Parthenon The depiction of Greeks’ perfection and fine to details is apparent in the Parthenon’s design (Lstiburek 85). This is via from the way the Parthenon’s builders carefully utilized geometry to come up with well-scaled features, which are proportional. Hence, setting all the Athenians apart from other global people where according to them (Athenians) during then referred other people as barbarians (Lstiburek 80). The Parthenon’s site and painting emphasized the aspect of harmony where its color does not contrast with its environment. The shape of the entire building coupled with its interior design depicts the aspects of order and symmetrical balance, which is evident from the bird’s view (in Fig. 2). Fig. 2 depicts the outline and scale utilized in laying diverse structures that comprised the temple, for instance, pillars. Figure 1: The Parthenon. Accessed on 23rd October 2012 from Figure 2: Parthenon Bird's view plan showing the aspects of balance, order and fine to details. This is evident from the scale used, which enabled well placement of the peripheral pillars from each side. Accessed on 23rd October 2012 from The Ara Pacis Contrary to the Parthenon’s site, Ara Pacis’ location was inside a building though both the structures had almost the same dominant shining yellow color (Buxton & Kleiner 58 - 59). This exhibits the aspect of power especially by the Ara Pacis structure where its intensity is more than that of Parthenon building (Buxton & Kleiner 57). For illustration, the image depicting empire’s senate where out of their unity and proper governance prompts the small child at their feet wanting to be a Roman citizen (Buxton & Kleiner 62). The senate’s shining bodies shows their strength, which a representation of the sturdiness of the Roman Empire. Figure 3: Ara Pacis' Senate; Notice diverse yellow shades in the picture revealing the men’s stoutness. Accessed on 23rd October 2012 from Qn 2# Religion a) Polytheism This is a belief or adoration of multiple deities, though the practice varies across diverse societies. This is due to diverse and precise benefits they get from worshipping these gods, which also depends on time or period of worship. Besides, gods venerated by polytheists, they usually vary in ranks, where one religion may have diverse gods depending on the power they deem their deities possess. For instance, powerful deities usually the worshipers liken them with earthquake, lightening, sun or fire whereas the minor deities are like the moon. Monotheism This entails the belief and veneration of one deity (Athanassiadi 524). Worshipers because of numerous and mysterious occurrences surrounding them deem the deity possesses incomparable power. The deity keeps its worshipers’ environmental order besides controlling their lives. Consequently, the deity manages and controls all the affairs in the world for the favor of its worshipers. Some of the religions that practice monotheism include Islam, Judaism and Christianity (Athanassiadi 524). b) & c) Polytheism portrait Figure 4: Krishna portrait. Accessed on 23rd from The veneration of Krishna started in 4 BC, though during then, Indians contended their god was a boy (Monier 113). However, with time this changed where the worshipers owing to their god’s power argued that he was capable of changing and assuming numerous forms (Largen 115). This is evident in Fig. 4 where Krishna besides assuming the image of a beautiful woman, he is capable of performing diverse roles represented by numerous images behind him. It is a mystery how a god can change from being a male to a woman between two transitional periods (Monier 113). Hence, this implies the portrait represents diverse and multiple deities comprising the Hindu religion (Largen 126). This is evident from many faces and hands emerging behind the picture. In addition, a closer look reveals the hands emerging from the main image belong to many other deities, venerated by Indians. Therefore, Krishna is among them, though assuming a high rank (Singh). Monotheism portrait Figure 5: Mano Poderosa (All-powerful Hand). Accessed on 23rd October 2012 from This is a Centennial Era image mainly comprising the Mexican Christian art. Mano Poderosa was among the most preferred images by Catholics during the Mexican colonial period meant to decorate alters besides used for devotional purposes. To the Mexicans, Mano Poderosa showed the unity of God and his son in saving humanity besides being concerned about people’s daily sufferings (Athanassiadi 524). The depiction of monotheism in this portrait is via how the artist has incorporated diverse images converging at one point; at the top of the big hand, hence bringing the aspect of harmony. Work Cited Ancient-Greece.org. The Parthenon. 2003-2012. Web. 23Rd October 2012. < http://www.ancient-greece.org/architecture/parthenon.html > Athanassiadi, Polymnia. "One God. Pagan Monotheism In The Roman Empire/Monotheism Between Pagans And Christians In Late Antiquity." Catholic Historical Review 98.3 (2012): 524. Web. 23 Oct. 2012. Beard, Mary. The Parthenon. London: Profile Books, 2010. Internet resource. Buxton, Bridget & Kleiner, Diana, E. E. “Pledges of Empire: The Ara Pacis and the donations of Rome.” American Journal Of Archeology 112 (2008): 57-89. < http://www.ajaonline.org/sites/default/files/1121_Kleiner.pdf> Gardner, Helen & Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. Boston, Mass.: Wadsworth Cengage Learning, 2010. Print. Kellum, Barbara A. "What We See And What We Don't See. Narrative Structure And The Ara Pacis Augustae." Art History 17.1 (1994): 26. Web. 23 Oct. 2012. Largen, Kristin J. Baby Krishna, Infant Christ: A Comparative Theology of Salvation. Maryknoll, Ny: Orbis Books, 2011. Print. Lstiburek, Joseph W. "Parthenon, Eh!." ASHRAE Journal 54.3 (2012): 80-86. Web. 23 Oct. 2012. Monier, Monier-Williams. Brahmanism and Hinduism: Or Religious Thought and Life in India As Based on the Veda and Other Sacred Books of the Hindus. United States America: Kessinger Publishing, 2005. Print. Singh, Awdhesh K. Whether Hinduism is a Monotheistic Or Polytheistic Religion? 7Th August 2010. Web. 23Rd October 2012. Read More