Universal Sacred Space- William Blake Group

Through our discussion of sacred spaces our group had some different views of universal sacred spaces. We noted that the perfect universal sacred space already exists, and that is the Earth. Also, we discussed the notion of a building to house all religions being an impossible feat. As history has shown us, there is no great harmony among religions; in fact, many great wars have resulted from it. Taking this into consideration, we designed a sacred space that did not proclaim to be wholly, holy for every religion, but rather a space where everyone could worship in part the way they would in a specific sacred space.

Our universal sacred space would be centrally located on a hilltop. This would lend our space 360-degree views of nature. Ideally, those views would include both water and land. The location would be a neutral area free of religious rigors that would allow all religions to openly worship. The hilltop site would be a pilgrimage destination point for all religions. The path pilgrims would take up the hill would be well planned allowing for vignettes of nature before finally coming up upon the sacred space.

The space itself would incorporate some significant symbols. The cross is used which is significant to Christianity and Judaism, the crescent moon shape is significant to Islam and circular and wheel symbols are found in both Buddhism and Hinduism. In an effort to show that the site was for all religions and not totally for one religion, the symbols are shown in incomplete forms. As seen in the plan the central design of the building is a deconstructed cross with a partial crescent wall evolving out of the south end, and a half circle is seen at the north end of the building in the reflecting pools. The mass of the building would be made of local materials and cast concrete in an effort to make it relate to the area while also being a building that would last a long time.

The approach to building would be from the north travelling south. Upon meeting the site, pilgrims would be enticed to travel in a clockwise motion around the building because of the foreboding wall between the front of the building and the sculpture garden. As they walked around the building, they would find themselves in an open air chapel or temple. This worship area would be flanked on the west side by a curved feature wall of diminishing height with tall rectangular voids punched out of it allowing a limited view of the sculpture garden. The feature wall is a suggestion at the views one sees when looking through a forest of trees. The space would have three other worship areas which allow for worship in different directions and manners. The three interior chapels would host worshippers in an intimate setting whereas the outdoor chapel would allow for the hosting of greater numbers. The interior would be largely lit from natural light cascading in through large picturesque windows. This would allow for a connection from the interior to nature.

The space would be able to house many religious artifacts thus making it a pilgrimage destination for different faiths. Large statues and sculptures would be kept in the sculpture garden on the west side of the building. The sculpture garden would allow for religious contemplation while also connecting with nature. A two-level central vestibule in the building would allow for housing of other artifacts. The first level would be a public gallery of religious paintings, sculptures and important documents displayed for worshippers. The second level would be a privately maintained library of important documents and texts for various religions.

Although, the universal sacred space could not address all the needs of every religion, it was a means to partially addressing those needs and allowing for a peaceful, shared religious center. This universal sacred space would be a lasting site of destination for many religions for many years to come.

The Dome of the Rock

The Dome of the Rock, Wajiha Hyder
William Blake Group
The Dome of the Rock

General Description
The Dome of the Rock is located in Palestine on the temple mount. It was completed in 691, making it around 1300 years old and the oldest Islamic building in the world. It is not considered a mosque but a religious shrine for the Muslims. It was built by Umayyad caliph Abd al-Malik.
The Dome of the Rock was meant to be created to overpower the other religious shrines. It is certainly one of the most beautiful and has thousands of tourists from all around that come to visit it. This structure has gone through several changes even after it was confirmed to have been completed. The golden dome on top of the Dome of the Rock was originally made of gold, but was replaced with copper and then aluminum. The interior of the dome is decorated with mosaic, faience and marble. The dome is topped by a full moon decoration which is a representation of the crescent moon symbol of Islam.


The sacred stone is encircled by sixteen arches that formerly came from different churches in Jerusalem, which were destroyed during the Persian occupation of the city in 614 AD.
There is a sacred rock in the middle of the building which is considered to be the spot where Prophet Muhammad ascended on the night journey. The Dome of the Rock was mainly devoted and still is today to commemorate Prophet Muhammad's ascension into heaven after his night journey to Jerusalem. There is Arabic inscription inside the building telling of the night of journey of Prophet Muhammad according to the Quran.
The night journey stated in the Quran was when Prophet Muhammad was pulled up into the heavens by God. This was during the time he was being revelated the Quran and he had been taken for him to see proofs and to strengthen his faith. As Surah 17 verse 1 states ‘Glory to (God) Who did take His Servant for journey by night from the Sacred Mosque to the Farthest Mosque, whose precincts We did Bless- in order that We might show him some of Our Signs: for He is the one Who heareth and seeth (all things)’. This strong verse shows that Prophet Muhammad
The most propitious site for Jewish prayer is a spot nearest the Foundation Stone. Because Muslim authorities refused to permit Jewish prayer on the Temple Mount, the custom developed of praying near the Western Wall, since it was the site nearest to the Foundation Stone, or on the Mount of Olives facing the site of the Temple.
The location of the Dome of the Rock connects it with a long tradition of the two other religions in Jerusalem, Judaism and Christianity. The place is where the second Jewish Temple was built and is also associated with the first Jewish Temple of Solomon. In addition, the Rock was considered to be the place where Abraham was prepared to sacrifice his son Isaac.
In an attempt to describe the Dome of the Rock as someone who has only researched it could conclude with this quote by a traveler Ibn Batuta who said "This is one of the most fantastic of all buildings. Its queerness and perfection lie in its shape... It is so amazing it captivates the eye...”

Sources
http://www.sacredsites.com/middle_east/israel/jerusalem.html

Dome of the Rock, Jerusalem. (1998)
http://www.sacred-destinations.com/israel/jerusalem-dome-of-the-rock

Schlesier, M. L. (2005). Deities and Places of Worship. Exploring Art: A Global, Thematic Approach. I/ed (pp. 258). Mason, OH: Thomson.

The Altar and Temple of Heaven:Kristie Hilliard

Kristie Hilliard
William Blake Group
Altar and Temple of Heaven




General Description
The Altar and Temple of Heaven was built in Beijing, China during the reign of Emperor Yong Le and was completed in 1420. In China, the emperor was regarded as the Son of Heaven and he was also considered a liaison between Heaven and Earth. Because of this, it was very important for the people to show respect for his spiritual connection between Heaven and Earth so they had ceremonies where they showed respect for the source of the emperor’s spiritual authority. These ceremonies were held at the Temple of Heaven.

Architectural Design
The Temple of Heaven covers an area of 2,700,000 square meters and has two altars, one on the inside and one of the outside. The major structures of the Temple’s roadways are spaced out in north and south axis’s. The altars and temples face the south because it is the source of temperature weather and abundance and the north was influenced by evil sources. The building is square on the southern end and semi-circular on the northern end, with the round shape symbolizing heaven and the square shape symbolizes earth. The main building of the Temple is the inner altar. The Circular Altar and the Imperial Vault of Heaven stand on the north of the inner altar, while The Hall of Prayer and The Huang Gan Hall face south. They are connected by a 360 meter long corridor. The Hall of Prayer is very colorful and it is 38 meters high. The eaves of the hall are comprised of blue tiles because the sky is blue and it is symbolic of Heaven. The symbolic layout and design of the temple had a significant influence on architecture and planning in the Far East over many centuries.

Harmony with Nature
The temple is considered to be sacred ground. Chinese people believe that heaven and earth are connected so they built the temple as a way to connect or find harmony between earth and heaven. In this way, harmony with nature and earth is shown.

Symbolism and Sacred Objects
Since the temple was built as a place where heaven and earth unites, the use of the round shapes to represent heaven and the square to represent earth are essential to the building. The circular and square patterns are repeated throughout the structure of the temple. The temple also has two walls that extend the circle and square shapes. The taller wall is semi-circular and it is longer than the rectangular wall, which represents the earth. This is likely because heaven is superior to earth. The blue tiles that are in the Hall of Prayer are also symbolic because they represent the sky, which is blue, and it also represents heaven.

Also important in the Hall of Prayer for Good Harvest is a circular column that represents summer, fall, winter, and spring.

How it is used by Worshippers
Although the Altar and Temple of Heaven was originally built for the emperor of China, it was still built as a place for worship where the people could come and worship to get a feel of the connection between heaven and earth. The emperor conducted ceremonies for sacrifices to heaven and the people came to worship heaven and also pray for good harvests.

Sources
http://whc.unesco.org/en/list/881
http://www.beijing-travel.cn/Beijing_Attractions/Temple_of_Heaven.htm
http://www.china-travel-tour-guide.com/attractions/temple-of-heaven.shtml
http://www.sacred-destinations.com/china/beijing-temple-of-heaven
http://www.360cities.net/image/the-hall-of-prayer-for-good-harvest-beijing
Schlesier, M. L. (2005). Deities and Places of Worship. Exploring Art: A Global, Thematic Approach. I/ed (pp. 258). Mason, OH: Thomson.

Profile of a Sacred Space by Jennifer Hyde

Notre Dame du Haut, Le Corbusier, 1955

General Description. Notre Dame du Haut in Ronchamp, France was designed by Le Corbusier. Built from 1950 to 1955, the chapel commissioned by the Catholic church was a bold move in the modern expressionist period.

Architectural Design. The chapel at Ronchamp is one of Le Corbusier's most extreme modern buildings. It is mainly constructed of cast concrete. Le Corbusier uses massing of walls from four inches to twelve inches thick to develop the sense of subtraction in his design. The heaviness of the building is juxtaposed by delicate uses of light. The light is very controlled through punched windows in the exterior that allow shafts of colored light to flow into the central nave. There are two smaller chapels on each side of the nave that pierce its massive structure. The light is controlled in the two side chapels through skylights. The only color on the building is found in the glazing which allows a very controlled setting in the interiors. The entire design is inspired by The Modulor. Modulor dimensions have been found throughout the design not only in space planning but in details such as the grid on the floor and the Mondrian-esque window designs. Le Corbusier breaks up the massive feel of the chapel by use of membranes such as the alternating concrete membranes found on the roof and texture of the pivoting metal door.

Harmony with Nature. The environment surrounding the site played an important role in Le Courbusier's design. Although it has been argued that the building moves away from the local vernacular of the small village of Ronchamp, the building is in direct response to the hillside on which it resides. The plan consists of four rounded walls which respond to the 360 degree panoramic views one experiences from the site. The chapel can be seen from miles away. The curved forms act as synonyms to the never ending landscapes.

Symbolism and Sacred Objects. The design references three Christian symbols by its resemblance to a dove's wings, praying hands and the shape of a boat. Le Corbusier references the absent sea with the exterior water basin. Le Corbusier believed that although opposites, mountains and the seas were complimentary. The building itself becomes a colossal structure which plays the role of monument on the hillside. Specifically placed windows shine light on important sculptural pieces in the interior of the chapel. Also, the pulpits become additive sculptures to the building making them stand out as significant.

How it is used by Worshippers. The site has been a pilgrimage destination since the twelfth century. The church previously on the location had been rebuilt many times until it was finally destroyed during World War II. The chapel is innovative in its ability to house a few worshippers in the nave and chapels or to host as many as 12,000 pilgrims on the exterior lawn. This is achieved through strategic placement of the altar and pulpits not only inside but on the exterior of the building. This allows the chapel to then become a backdrop for the pilgrims. Designed specifically for pilgrimage, Le Corbusier developed a course of travel up the hillside which takes the worshipper first past a dolmen like hill, then between the youth hostel and parish house where the view of the chapel then rises out of the ground as your final destination point. The pilgrim passes through a ziggurat like altar to the east and the bell tower to the west which then guide the worshipper in a counterclockwise walk around the chapel with planned vignettes at every corner where they eventually find themselves on the lawn with outdoor altar and pulpit.

The Notre Dame du Haut in Ronchamp could be seen more as a sculpture than architecture though it has and will continue be a momentous pilgrimage for Christians and admirers alike.


Sources:

Gans, Deborah. Le Corbusier guide. 3rd ed. New York: Princeton Architectural, 2006. Print.

Lazzari, Margaret, and Dona Schlesier. Exploring Art with Infotrac A Global, Thematic, Approach. 2nd ed. Belmont: Wadsworth, 2004. Print.

"Notre Dame du Haut, or Ronchamp - Le Corbusier - Great Buildings Online." Architecture Design Architectural Images History Models and More - ArchitectureWeek Great Buildings. Web. 13 Nov. 2009. .

Profile of a Sacred Space: Stonehenge: Lisa Kenaston

 General Description
When looking at the ruins of Stonehenge, though still grand, it is evident that the remains are part of what was a magnificent architectural megalithic structure. Stonehenge is located in Wiltshire, England and is visited every year by droves of people coming to admire or worship the remains. There is an ongoing debate of what went on at this site back in the days of the Pagans up until now.
 Architectural Design
Stonehenge was built in what was believed a total of three stages. The first stage consisted of a bank that has a circumference of 320 feet and a series of Aubrey holes were dug with a circumference of 288 feet. This also included a causeway, which led into the structure. Phase two consisted of the placement of four station stones in line with the circle of Aubrey holes and the Q and R rings. The Q and R rings are newly discovered aspects that were recently found during excavation of the site. They are two separate rings formed by holes dug into the earth. Phase three is the most prominently visible aspect of the structure. In this phase a ring of Sarsen stones with lintel tops were built that has a diameter of 97 feet. This was followed by bluestones that formed an inner ring. Next there was a series of stones that form a horseshoe structure. There are also three other large stones that are placed strategically in the structure. One of these is a Heel stone, which is placed in the causeway before passing the exterior bank. A Slaughter stone was also placed in line with the ditch and the Aubrey circles after you enter from the causeway. An Alter stone can be found in the center of the structure. Many of the stones that form the central structure have fallen or are missing.



 Harmony with Nature
Some of Stonehenge’s most memorable moments are during the Summer Solstice. As the sun rises on the Summer Solstice the rays of light come flooding down the causeway. The light reaches the Heel Stone and floods all around it. The sunrays end at the Alter Stone in the center of the structure.

 Symbolism and Sacred Objects
Stonehenge has been seen as an astronomical device. Some theorists say that Stonehenge is a representation of the Pleiades constellation. The Avon River also mirrors the positioning of the Milky Way.

 How it is used by Worshippers
Other theorists believe that Stonehenge is a place to worship those who have died. In all of the Aubrey holes that have been excavated remains have been found. Each Aubrey hole is the sight of several cremated bodies. There is thought to be hundreds more buried through out each phase of the building of Stonehenge. The remains of pig and cow bones have also been found all through the grounds of Stonehenge. This may hint at animal sacrifice, which may have been for the dead that were buried here. The indigenous people may have believed the dead were responsible for providing a good harvest. It is believed that sacrifices and gatherings were thought to be made during the Summer solstice.

 Sources

http://libproxy.uta.edu:2066/login.aspx?direct=true&db=a9h&AN=9412200616&site=ehost-live

http://libproxy.uta.edu:2066/login.aspx?direct=true&db=a9h&AN=37206108&site=ehost-live

http://www.efestivals.co.uk/festivals/stonehenge/

http://en.wikipedia.org/wiki/Stonehenge

http://www.soulsofdistortion.nl/Summer Solstice Galactic Alignment.html

Profile of a Sacred Space: The Great Pyramid by Javelo Jones

General Description:
The Great Pyramid of Giza, also called the Pyramid of King Khufu, and in Greek Pyramid of Cheops, is the oldest and largest of the three pyramids in the Giza Necropolis bordering what is now El Giza, Egypt, and is the first of the Seven Wonders of the Ancient World and is the last remaining the only surviving one substantially intact. The pyramid was built as a tomb for Fourth dynasty Egyptian King Khufu and it too over 20 years to complete, finishing around 2540 BC. The Great Pyramid was the tallest man-made structure in the world for over 3,800 years, but was not the first, furthermore was not the first true pyramid. What makes this one significant is because of its architectural advancement and the effort needed to build it.

Architectural Design:
Similar to pyramids constructed after it, it encompasses all of the standard elements of the pyramid complex, though most have since disappeared. The finished pyramid included a superstructure and substructure and enclosed with a wall of Turah limestone, which surrounded a court paved in limestone. The casing stones, 144,000 in all, were so brilliant that they could literally be seen from the mountains of Israel hundreds of miles away. After the Great Pyramid was initially sealed, its original entrance was hidden and faced with smooth limestone and blended in so well with the surrounding casing it was invisible. The base covers over 13 acres with a volume of around 90,000,000 cubic feet. You could build 30 Empire State buildings with its masonry. It stands 454 feet high, equivalent to a modern 48-story building. Each of the four triangular sides slopes upward from the base at an angle of 51 degrees each side has an area of 5 1/2 acres. The joints between adjacent blocks fit together with optical precision and less than a fiftieth of an inch separates the blocks. The cement that was used goes against chemical analysis, and with all our modern science and engineering, we would not be able to duplicate the pyramid. The Great Pyramid is the only pyramid to contain both ascending and descending passages. There are three known chambers inside which are arranged centrally, on the vertical axis of the pyramid. After entering, an 18 meter corridor leads to a split, one way leads to the lowest and unfinished chamber, which is cut into the bedrock of the foundation. It is the largest of the three other passage leads to the Grand Gallery where it splits again. One tunnel leads to the Queen's Chamber, while the other intersects with the descending corridor. An antechamber leads from the Grand Gallery to the King's Chamber.

Harmony with Nature:

While being the oldest structure on the face of the earth, the Great Pyramid is the most accurately oriented, being laid out almost exactly due north, south, east, and west. It is built to face true North. The Pyramid is located at the exact center of the Earth's land mass. That is, its East-West axis corresponds to the longest land parallel across the Earth, passing through Africa, Asia, and America and the longest land meridian on Earth, through Asia, Africa, Europa, and Antarctica, passes right through the Pyramid. Since the Earth has enough land area to provide 3 billion possible building sites for the Pyramid, the odds of it's having been built where it is are 1 in 3 billion.

Symbolism and Sacred Object:

A quote by William Fix in his book "Pyramid Odyssey" summarizes what many have thought and believe about the Great Pyramid as follows:

...men are capable of perceiving the Pyramid in an astonishing number of ways. Some have thought the Pyramid was an astronomic and astrological observatory. Some have thought it functioned as the equivalent of a theodolite for surveyers in ancient times... Some think it performed as a giant sundial... Some think it records the mathematics and science of a civilization which vanished... Some think it is a huge water pump. Others have thought it was filled with fabulous treasures... One early investigator came away convinced it was the remains of a huge volcano. Another thought the pyramids were Joseph's granaries. Some thought they were heathen idols wich should be destroyed. Some believe the Pyramid captures powerfule cosmic energies... Some think it is a tomb. Some think it is a Bible in stone with prophecies buld into the scheme of its internal passages... Some think it was a mammoth public works project which consolidated the position of the pharaoh and the unity of the nation. Some think it was built by beings from outer space. Some say it was a temple of initiation. Some hold that it was an instrument of science. Some believe it is an altar of Guild built through direct Divine Revelation. And today, judging by the uses to which it has been put, some apparently think it is an outhouse.

The Great Pyramid has an array of various geometric, geophysical, astronomical, numerical, and prophetic interpretations or coincedences made by explorers, authors, and visitors to the Great Pyramid over the last couple of centuries, such as the Great Pyramid having been used as a sundial, to the calculation of the speed of light, to the prediction of the exact dates of the birth of Adam, when the nation of Israel fled Egypt, and the life of Jesus. Some believe the existence of the Great Pyramid implies that God exists because achieving the pyramid's design with the characteristics it posseses would require one to change the size and shape of the earth, the alignment of the planets, and even components the solar system which would require power beyond human imagination.

Sources:

Great Pyramid of Giza Research Association: http://www.gizapyramid.com/index.html

Romer, John (2007). The Great Pyramid: Ancient Egypt Revisited. Cambridge University Press.
Winston, Alan. The Pyramid of Khufu at Giza in Egypt: An Introduction: http://www.touregypt.net/featurestories/greatpyramid1.htm

The Great Pyramid Part One: The Ancient Mystery Unraveled: http://www.greatpyramid.org/aip/gr-pyr1.htm

Hunkler, Tim G, Symbolism and Coincedences of the Great Pyramid
http://www.hunkler.com/pyramids/pyramid_symbolism.html

At the Museum with Wajiha Hyder

Looking through the Susan Rothenberg exhibition at the Modern Art Museum, her painting ‘the chase’ caught my eye. It was simple, yet curiosity built up in my mind. It was drawn in 1999 and had a mixture of several colors in a swirl. I couldn’t figure out why this was drawn. I learned that it was a picture of dogs killing a rabbit. It depicts several dogs frantically following or desperately escaping each other. It had heavy, dense brush strokes. In ‘The Chase’, the swirl shows frenzied action and almost a state of chaos. Oil paint was used to create this painting, it had a shiny look to it. The colors were strong and mixture of few colors was used. Some colors such as the dogs stood out, the rabbits however were hard to be seen for the background behind the rabbit was the same color. I feel like this was because the rabbit is running out of the picture while the dogs together chasing each other has become the focal point. The main chase moved from chasing a rabbit to the dogs running around each other. Through the use of color, Rothenberg brings out the energy and heat in this chase. We sometimes, in life forget our goals and end up running around in circles. We forget that what we are chasing was never what we wanted in the first place. Some get off this track of life, others continue circling within this cycle. In the painting, there is a white whorl in the middle. Its calm and leads us to see that there is nothing within this cycle in the midst of an almost uptight almost frightening situation. This is mainly where our eyes are drawn and is thus the focal point of the painting. It lets us see everything around that focal point for nothing seems to happening within the circling. The lines are shapes are not apparent, but that is like most paintings drawn by Rotherberg. There is much action and movement and that is shown with the texture. It was both smooth and rough when seen from different angles. I could not decide at first what to say about the texture but I realized it was because of her brush stokes. That was what was giving it the motion in the painting but led me to miss see the actual texture. The artist seems to have created ‘The Chase’ out of a bigger story because everything is led outside of the canvas. There is much imagery in this piece. One thing I read about Rothenberg was that she never liked to finish her paintings and everything she painted was what she saw or had seen. She also in most of her paintings admits to adding part of her own imagination to finish the piece. I feel like she left the middle up to our own interpretation. The dogs are running in this cycle misleading themselves. The one who was being chased, the rabbit, is running away out of it soon to learn that he has escaped the dogs.

At the Museum with Lisa Kenaston

The Torment of Saint Anthony is Michelangelo’s first painting and is currently being displayed at the Kimbell Art Museum in Ft. Worth. Michelangelo’s painting was created with egg tempera and oil on a wooden panel. Egg tempera is a fast drying paint, which can give an artist less time to change strokes after they have been made.

The painting has a glossy look with some areas that are a little more matte. The painting consists of Saint Anthony in the foreground, which is positioned towards the top center of the canvas. St. Anthony is surrounded by demons while below them is a gloomy landscape of hilly countryside with a waterway, which covers the other half of the canvas. These images create balance through out the canvas. There is also rhythm with the repetition of the demons surrounding St. Anthony. This circle surrounding St. Anthony may represent the never-ending struggle with temptation. The demons around St.

Anthony create a sense of tension in the painting. St. Anthony and the demons are the images with the most emphasis, which implies that they are the focal point of the painting.There are implied lines resulting from the demons gaze burning into the image of St. Anthony. While St. Anthony’s eyes are unchanged not affected by the demons wrath. The strokes that make up the images seem to have all kinds of direction and are short and distinct. The lines that were made can also be attributed to the type of paint used. The shapes in the work are organic but do contrast in the sense of fury up above compared to the calm that is rendered below. In regards to size of individuals, some of the demons are as big or bigger than St. Anthony and they out number him nine to one. Though St. Anthony’s size is not overpowering those of the demons he seems very proud and sure of his actions, while the demons look frustrated.

The sky is almost completely blanketed by the struggle that takes place up above. The larger image of St. Anthony and the demons in the foreground show aerial perspective when compared to the distant land below. The layering of St. Anthony and the demons with the landscape behind gives depth to the painting.

A source of light seems to be coming from the background and the horizon. This light source is natural and seems to lightly and gradually cast shadow as it reaches the foreground. This shadowing creates more boldness in the foreground, which also adds to the depth of the imaging. This also puts more emphasis on St. Anthony and the demons.The colors that dominate in the foreground are black, reds and browns, which make up St. Anthony and the demons. Below cooler colors are used to make up the scenery below. This also helps contrast the rage above compared to the tranquility below with the use of warm and cool colors, which also make up atmospheric perspective.Overall this painting has seemed to stand the test of time and was restored beautifully.

ResourcesThe Kimbell Art Museum websitehttps://www.kimbellart.org/exhibitions/exhibition-details.aspx?eid=69

At the Museum with Kristie Hilliard

I went to the Kimball Art Museum in Fort Worth and the work of art that caught my immediate attention was called Earth Spirit. Earth Spirit is a tomb figure that stems from the Northern Wei dynasty and continued into the Tang dynasty. The purpose of these tombs was to ward off any evil spirits who threatened to intrude.

Lines are not heavily included in this tomb image, although there are a few lines present. The black stripes on the forearms and forelegs are linear and the flames emerging from the creatures head, shoulders, and right leg are representations of lines. The most important lines, the ones emerging from the flames, are curved, short, and thick. They are utilized to emphasize the rage that the Earth Spirit feels toward the evil spirit it has subdued. I believe that there is an implied line that starts from the Earth Spirit’s hand and ends at the evil spirit’s body. Once they come in contact the line is complete.

The objects in the artwork are volumetric. There are spheres present in the eyes of both creatures and circles are present in the ears of the Earth Spirit. Also, there is a big circle in the center of his chest as well. The creatures in this work of art are strong, intimidating, and grotesque. They are huge monstrous beings and their size creates a sense of coercion.
Space was not really an issue for the Earth Spirit. It was closed inside of a glass box so it did not fill my space at all. In regards to the spacing of the objects, however, there was no space left between the two creatures. The Earth Spirit captured the evil spirit and had it pinned down so there is no space between the two creatures.

The source of light for Earth Spirit was provided by the museum. There was a light switch that could be adjusted to turn the light on and off.

The colors chosen for Earth Spirit set the mood for the artwork because it consists of earth tones entirely. There are mixtures of browns, grays, gold, and a small hint of black. The artist chose these colors because they are representations of the earth and bright, bold colors would have probably distracted the purpose of the piece representing the earth.

The texture of the tomb is rough and rugged in certain spots but it appears to be smooth.
The balance of the objects is definitely asymmetrical. They are on two different levels with the Earth Spirit being up high and the evil spirit being down low. They are clearly unbalanced.
When I first looked at Earth Spirit, my eyes were immediately drawn to the flames coming out of his shoulders and the look of intensity in his eyes.

Rhythm is not present in Earth Spirit because there are no repeated patterns or decorative ornamentation. The tomb is a sculpture that can be seen in the round. It is not placed up against the wall. It is on display in the center of the museum. It is a three dimensional sculpture.
The Kimball Art Museum was founded on the concept, “an art institute for the people of Texas.” It is named after an industrialist and art collector, Kay Kimball. It is located in a museum district, making it a very welcoming structure in a welcoming environment.

At the Museum with Jennifer Hyde

Dentist by Candlelight (c. 1660 - 65) by Dutch artist Gerrit Dou is part of the European permanent collection at the Kimbell Art Museum in Fort Worth, Texas. Dou paints the tooth-puller, a common character in Flemish artwork, and his subjects with miniaturistic detail. The painting is oil on oak and has a polished finish.

Light becomes the most overwhelming characteristic of Dou's painting. The sources of light are the two depicted flames, one being held by the dentist and the other in a lantern on the window ledge. Dou uses this to highlight the important parts of the painting. The lantern shows the frame of the painting which is the window which the viewer is looking through. The lantern subtly highlights figures of still life and vanitas in the foreground. Dou uses the primary light, the candle being held by the dentist, to highlight the main characters of the painting. The candle first directly lights the faces of the doctor, patient and concerned bystander. By doing this, the emotions of the three people are evident. The candle also lightly brings attention to the crocodile hanging from the ceiling. Space in the painting is defined by the light. As the light fades, negative space begins. Dou uses light to contrast between cool and warm colors. The direct light sources and the surfaces they touch are all warm tones while the surfaces outside the light's touch are cool. This helps to emphasize the subject of the painting.

Line is elegantly used in this painting to tell a story. Dou's wit is seen in the way he paints the patients face, scared and looking up. The way the eyes are drawn points a line to the crocodile on the ceiling. This is not something you would necessarily want to see in your dentist's office. Dou also implies lines with the direction of both the dentist's and the bystander's gaze. Dou repeats a curved line in the back edge of the metal bowl, up to the curve created from the heads of the three people, up to the curve of the crocodile and finally up to the curve of the window. This draws the viewer's eyes up through the painting to tell the story of the patient's fears with the dentist. The shapes of the people are very expressive of their states in the story. The dentist is standing erect over the patient giving him the place of power. The patient is sitting showing his vulnerability. The bystander is hunched over to show her worry. Dou uses circular forms to show relationships. The items in the window all have circular forms which are then repeated in the people. The curve of their heads married with the curve from the man and woman holding hands creates a circle. Within this circle is the main story of the painting.

Dou uses the light and circle to create emphasis. Although the light and circular forms are found throughout the painting, the central focus, the three people, is emphasized with direct light in the circle. Balance is somewhat symmetrical along the vertical line created by following the curved forms. Rhythm is found in the repetition of curved forms and lines. The rhythm in this piece acts as a unifying element between all the objects you see through the window.

Dou's Dentist by Candlelight is an impressive piece. His attention to detail on such a miniscule level, the entire painting is only fifteen by eleven inches, is breathtaking. Using the principles and elements of art, Dou is able to tell the story of the three interconnected characters.

Image on left from Kimbell Art Museum Online gallery, Image on right taken by Jennifer Hyde in South wing of Kimbell Art Museum in 2009

Paragone Discussion

‘Paragone’ is defined as a discussion (common in the Italian Renaissance) in which intellectuals debate the superiority of one Liberal Art over another. In the portion of the paragone assigned, Leonardo da Vinci presents his argument that painting is superior to sculpture. While putting forth his reasoning, he also introduces what sculptors have stated as the reasoning for the superiority of sculpting as compared to painting.

The group had some trouble with the Standing in the Shoes assignment, in making the perspective look real. The greatest challenge throughout this assignment was trying to create the vanishing point, and incorporating the aerial perspective in the perfect picture. It was also difficult to narrow down ideas of what to draw. We all gained a newfound respect for the artists in the effort and level of intricacy put into their final masterpiece

As a group, we seemed to agree that Leonardo’s concluding lines made up his strongest argument. On the topic of greater mental or physical fatigue between a painter and a sculptor, neither was seen as superior over the other. A sculptor may have to go through more physical fatigue, in creating a piece of art by shaving at it, and a painter would go through more mental fatigue as he thinks through his painting, and transfers his thoughts onto paper.

The weakest part of Leonardo's argument is his comparison of the environments that painters and sculptors work in. Painting can also be very messy and the environment may not always be calm and relaxing. A painter's work area could have paint flying everywhere, just as the sculptor has dust flying in the air. Also, an excellent point that was brought up was that a sculptor may choose to create pleasant settings by having music playing in the background.

The sculptor’s argument presented also had some flaws. A strong point brought up was that a sculptor has to be extra precise with his work. Once a piece is shaved off, it cannot be added on again. A painter has the advantage in this arena, since he may be able to change things around once finished. The weakest part of his argument was that his work is more enduring than that of the painter. Both put an enormous amount of effort into their work to bring it to perfection. It is not at all valid to argue this point as a level for superiority in the sculptor’s work.

Standing in the Shoes with Wajiha Hyder

This drawing of a street is drawn in a linear perspective. The street tends to narrow as it goes farther down. The shops and stores are clear and bigger in the foreground than in the background. There is shading in the back which shows it to be a bit hazy but still recognizable. The light post is drawn in the front and the back to signify the depth and position. This explains the aerial perspective because two of the same things are shown to be of different sizes to show that one is much farther in distance than the other. The size of each post is different because of its position from where we are standing. The vanishing point in this drawing is at the end of the street where no buildings can be seen. It is assumed that the town goes further beyond the last building but is not shown.

Standing in the Shoes with Javelo Jones

With my project I had to keep starting over, and because there isn't an eraser, I had to keep shaving down on my bar of soap. I too had a hard time deciding what I would carve but I just looked up and saw stewie and thought I would do that. Also, I have much respect for creations like the statue of david, because I struggled with these bars of soap. and honestly I dont think that I did was all that intricate, so I know I wouldn't have been able to do something really hard. I chose to do the sculpting because I thought it would be a harder since I already know how to draw. But yea it was really difficult, even with having such a simple subject.

Standing in the Shoes with Lisa Kenaston

Determining what to sculpt was the hardest part of this project. I chose fruit because that is what was sitting on my dining room table as I began to practice on my soap bar. It was very difficult to decide when the piece was done. I found my self shaving off piece after piece of soap trying to make it perfect but if I didn’t stop there would not be an object left in my hand. I also should have not used scented soap because the smell became overwhelming after a few minutes. Overall I enjoyed creating my own little sculpture.

Standing in the Shoes with Kristie Hilliard

This is a picture of a young lady and a young man enjoying a wonderful evening on the beach. The lady is sitting by the oceanside watching the waves pass by and the man is reading a book while sitting on rocks. I enhanced the perspective of my image through scale by having the man sit on the rocks. He seems to be close enough to shore that he can easily return, yet far enough away that he is still isolated, yet in view. The aerial perspective is shown by the different changes that are shown by contrast from sand to waves and the way that the clouds seem to be touching the ocean water in the background of the picture. The vanishing point is in the angle that the man is facing where the ocean seems to be disappearing. The birds are also flying towards the vanishing point.

Standing in the Shoes with Jennifer Hyde

I chose to explore Da Vinci's perspective drawing technique. I used a beach boardwalk as a setting to achieve this. I first established definition between foreground and background through shading and then through detail. Objects in the background were darker and less detailed than objects appearing in the foreground. I repeated human firgures and lamp posts both in the foreground and background. To achieve their relative sizes, I first drew the object in the foreground the correct size. Then using orthagonal lines from the foreground object to the vanishing point, I was able to find the correct height of the object in the background. The vanishing point lies at the far end of the walkway along the horizon line.

Who is William Blake?

"I do not behold the outward creation... it is a hindrance and not action."

-William Blake

William Blake--painter, engraver, and poet--explained why his work was filled with religious visions rather than with subjects from everyday life. Few people in his time realized that Blake expressed these visions with a talent that approached genius. He lived in near poverty and died unrecognized. Today, however, Blake is acclaimed one of England's great figures of art and literature and one of the most inspired and original painters of his time.

William Blake was born in Carnaby Market in London on November 28, 1757. Born in London in 1757, Blake was middle class. His father who was an Irishman and his mother was thought to be English. They had no formal education. He was the third of seven children. Throughout his childhood, he developed a love and appreciation of Greek classicism. As a young adult he would pursue the art of engraving.

He was a boldly imaginative rebel in both his thought and his art. He combined poetic and pictorial genius to explore life. In 1782 Blake married Catherine Boucher, daughter of one of his patrons. He and Catherine would spend almost forty-five years together.

Blake spent most of his life in London. From his earliest years he saw visions. He would see trees full of angels or similar sights. If these were not true mystical visions, they were the result of the artist's intense spiritual understanding of the world. From his early teens, Blake wrote poems, often setting them to melodies of his own composition.
William Blake is said to be one of the fathers of the 18th century Romantic Movement. A Dissenter, Blake was fond of religion but not establishment. Many of his works are representative of his love of the Bible but disdain for the church.

In 1772 Blake became apprentice to James Basire. During his six year stint with Basire, Blake spent many years studying the Gothic buildings of London. A specific influence of his was Westminster Abbey. After his apprenticeship, he spent six years at the Royal Academy. He was not fond of the art being taught at the academy and generally disagreed with the director Joshua Reynolds who believed in “general beauty.” Blake responded with: “To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit.”

In 1783 Blake saw his first major achievement when his poetry, Poetical Sketches, was published and featured at the National Gallery. He and his brother Robert later opened a print shop in London. He began receiving important commissions over the next twenty years finding himself in Sussex. His time in Sussex ended with an altercation between him and one of the King’s soldiers.

In 1804 he found himself back in London. There he began his sixteen years of work on Jerusalem. After finishing his own interpretation of Chaucer’s “Canterbury Pilgrims”, he later installed it at his brother’s shop. During this period he befriended John Linnell and joined the Shoreham Ancients. They prided themselves on a rejection of modern forms and art while observing spiritual classicism. His friendship with Linnell landed him his most prized commission, Dante’s Inferno.

In 1826 he began his watercolors of Dante’s Inferno only to complete it partially. He died in 1827 while supposedly drawing a portrait of his wife, Catherine, but this portrait has been since lost.

Reunion of the Soul and the Body

Blake was usually very biblical so I think this is the Christian interpretation of the soul and body reuniting. Notice that the soul is portrayed as a women and the body as a man. The body is rising from his grave while his soul descends from the heavens so they can reunite, but it may not be for eternity. The earth looks like it is on fire and it is the end of mankind. After the soul and body reunite it is not known where they will be destined to end up, maybe at the end of days when your body and soul unite you go to heaven. People say heaven is a different place and some say it is earth reborn.

The Good and Evil Angels struggling for possession of a child

This painting places emphasis on Blake's religious nature. It reinterates the biblical scriptures that state that we are all born sinners but we have to be saved by the grace of God. From birth, we have a sinful nature so that creates a constant battle between who we are and who God intends for us to be. There is always an inner strugle between what we know to be right and wrong. The baby appears to be used in the painting because babies are defenseless and it is easier for evil spirits to overtake them because they do not know how to ward off these spirits, in the absence of the protection from a good angel.

The Fall of Man

In this painting, there is sunlight in the middle which symbolizes light and happiness while there is mankind surrounding the whole image. Man has corrupted themselves and this world over generations. There is much progression in this one. The early and the good with Jesus in the middle create the foundation and everything outside of it has still not made its way in. Man has fallen rather than risen up and is oblivious to it. Also, a closer look shows the tree from which Adam and Eve ate from, which caused the fall of man. The three figures with their hands joined might be Jesus, sent down to save the world, and Adam and Eve flanking Him. To the side of them, you can see the angels crying. God seems to be sending down His wrath from His thrown because ofwhat Adam and Eve did (the lightning and what looks like fire). The middle figuremight be the cheribum leading them out of the Garden.