chapter 7 the arts raphael, transfiguration, 1517. vatican museums, rome

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Chapter 7 The Arts Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome.

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Page 1: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Chapter 7 The ArtsChapter 7 The Arts

Raphael, Transfiguration, 1517. Vatican museums, Rome.

Page 2: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Lesson 1 There is an Lesson 1 There is an Immensity of Knowledge in Art.Immensity of Knowledge in Art.

Page 3: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Art often problematic in TOKArt often problematic in TOK

• How can knowledge be found in such a How can knowledge be found in such a subjective experience like art?subjective experience like art?

• Art is often viewed as being such a Art is often viewed as being such a subjective experience that objective subjective experience that objective knowledge cannot be gained from itknowledge cannot be gained from it

• It is argued that art is only a personal It is argued that art is only a personal experience which has no bearing or experience which has no bearing or importance away from the person doing importance away from the person doing the actual perceivingthe actual perceiving

Page 4: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

HoweverHowever

• It is important to remember when It is important to remember when considering art is that one must not considering art is that one must not rigidly define the term “knowledge”rigidly define the term “knowledge”

• What is knowledge anyway?What is knowledge anyway?

Page 5: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

If there is anything to learn If there is anything to learn from TOK, it is that knowledge from TOK, it is that knowledge does not have only one does not have only one definitiondefinition • Knowledge is subjective and objectiveKnowledge is subjective and objective• Knowledge is personal and culturalKnowledge is personal and cultural • Knowledge is physical and metaphysical Knowledge is physical and metaphysical

and existentialand existential • So, is someone claims that there is no So, is someone claims that there is no

knowledge to be had in art because the knowledge to be had in art because the experience of art is subjective, what this experience of art is subjective, what this person is actually saying is that he or she person is actually saying is that he or she has discovered the true definition of has discovered the true definition of knowledgeknowledge

Page 6: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Art as an Entry Point into Art as an Entry Point into Cultural UnderstandingCultural Understanding

• Art is like a hole in Art is like a hole in the ice. A portal into the ice. A portal into another worldanother world

• Upon diving into the Upon diving into the hole though, an hole though, an entire world is entire world is revealedrevealed

• Actual knowledge is Actual knowledge is gained about this gained about this world by entering the world by entering the hole hole

Page 7: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

The Oba head is an entry point The Oba head is an entry point into an entirely different worldinto an entirely different world

• Why was it created? Why was it created? • What does it mean?What does it mean?• What does it What does it

represent?represent? • What is it? What is it? • Who is it? Who is it? • Why the necklaces? Why the necklaces? • Why the marks on Why the marks on

the forehead? the forehead? Head of an Oba. 18th Century. Kingdom of Benin

Page 8: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Artwork is the expression of a Artwork is the expression of a culture culture

• Every culture produces some type of artworkEvery culture produces some type of artwork • What does artwork say about the people that What does artwork say about the people that

created it?created it? It does say something.It does say something.• Artwork is like a fingerprint of the psyche and Artwork is like a fingerprint of the psyche and

mentality of a culturementality of a culture• Each culture’s artwork is distinct and unique, like Each culture’s artwork is distinct and unique, like

the cultures themselvesthe cultures themselves • The artwork is the outwards expression of the The artwork is the outwards expression of the

things that are significant and central to the culturethings that are significant and central to the culture • By examining artwork then and focusing on these By examining artwork then and focusing on these

elements there is knowledge to be gainedelements there is knowledge to be gained

Page 9: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Knowledge to be found in Knowledge to be found in Raphael’s Raphael’s DisputaDisputa

Raphael, Disputa (Debate on the Holy Sacrament), 1509-1511. Fresco, Stanza della Segnatura, Vatican, Rome

Page 10: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Activity QuestionsActivity Questions

• What can What can DisputaDisputa tell you about the tell you about the cosmological views [view of the universal cosmological views [view of the universal order] of the culture from which the painting order] of the culture from which the painting emerged?emerged?

• What historical knowledge can What historical knowledge can DisputaDisputa give us give us about the culture from which it emerged?about the culture from which it emerged?

• For what reasons do you think this piece of For what reasons do you think this piece of artwork was created? What motivated the artwork was created? What motivated the creation? What can this process tell you about creation? What can this process tell you about the value system of the culture from which the value system of the culture from which this artwork emerged?this artwork emerged?

Page 11: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Question 1: Question 1: What can Disputa tell you about the What can Disputa tell you about the cosmological views of the culture from which the cosmological views of the culture from which the painting emerged?painting emerged?

• Taken from the Christian belief systemTaken from the Christian belief system • In this world view, God, is the beginning In this world view, God, is the beginning

and creator of all. He is the all powerfuland creator of all. He is the all powerful • This position is reflected in the artwork by This position is reflected in the artwork by

the physical position that God has in the the physical position that God has in the painting. He is at top in the centre, above painting. He is at top in the centre, above everything and everyone elseeverything and everyone else

• He is also in a position where he can see He is also in a position where he can see everything that is taking place. In the everything that is taking place. In the Christian belief system God is all-knowing Christian belief system God is all-knowing and all-seeingand all-seeing

Page 12: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Question 1: Question 1: What can Disputa tell you about What can Disputa tell you about the cosmological views of the culture from the cosmological views of the culture from which the painting emerged? (Contd.)which the painting emerged? (Contd.)

• Another interesting aspect of the painting is the Another interesting aspect of the painting is the clear representation of the three spheres of clear representation of the three spheres of existence which, at the time, were commonly existence which, at the time, were commonly believed to exist.believed to exist.

• The highest realm is the realm of GodThe highest realm is the realm of God. . In his In his sphere, are the angels and other spiritual beings sphere, are the angels and other spiritual beings which reside with himwhich reside with him

• The sphere below God is the sphere of Saints and The sphere below God is the sphere of Saints and others who have been elevated to the divine or at others who have been elevated to the divine or at least semi-divine levelleast semi-divine level

• The third sphere is the sphere of man; the The third sphere is the sphere of man; the material world consisting of mortal beings and material world consisting of mortal beings and houses and landscapeshouses and landscapes

Page 13: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Question 1: Question 1: What can Disputa tell you about What can Disputa tell you about the cosmological views of the culture from the cosmological views of the culture from which the painting emerged? (Contd.)which the painting emerged? (Contd.)

• the imagery in the painting reinforces the the imagery in the painting reinforces the understanding that the Church is understanding that the Church is established as being in a direct line from established as being in a direct line from God and is therefore ordained as being the God and is therefore ordained as being the mediator between people and Godmediator between people and God

• The Church was the power and authority in The Church was the power and authority in all aspects of life. It represented knowledge all aspects of life. It represented knowledge itself, because generally only the members itself, because generally only the members of the Church had the ability to read and of the Church had the ability to read and write and understand the spiritual order of write and understand the spiritual order of thingsthings

Page 14: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Question 1: Question 1: What can Disputa tell you about What can Disputa tell you about the cosmological views of the culture from the cosmological views of the culture from which the painting emerged? (Contd.)which the painting emerged? (Contd.)

• A fourth way that the cosmological A fourth way that the cosmological order is revealed in the painting is that order is revealed in the painting is that Jesus has such a prominent central Jesus has such a prominent central position in the paintingposition in the painting

• He is the central figure in the painting, He is the central figure in the painting, as he is in the Christian belief systemas he is in the Christian belief system

• Jesus is even physically larger than GodJesus is even physically larger than God

Page 15: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Question 2: Question 2: What historical knowledge can Disputa What historical knowledge can Disputa

give us about the culture from which it emerged?give us about the culture from which it emerged?

• Firstly, the painting can tell the Firstly, the painting can tell the viewer about the prominence of the viewer about the prominence of the Church in societyChurch in society

• Painters such as Raphael and others Painters such as Raphael and others were hired for years to paint were hired for years to paint masterpieces like thesemasterpieces like these

• No other institution in society had No other institution in society had the means or ability to do such the means or ability to do such spectacular workspectacular work

Page 16: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Question 2: Question 2: What historical knowledge can What historical knowledge can Disputa give us about the culture from which Disputa give us about the culture from which it emerged? (Contd.)it emerged? (Contd.)

• A second interesting bit of historical A second interesting bit of historical knowledge that can be gained from the knowledge that can be gained from the painting is the importance of and respect to painting is the importance of and respect to Greek thought and philosophyGreek thought and philosophy

• After the “dark ages” in Europe, the After the “dark ages” in Europe, the knowledge of the Greeks was rediscovered knowledge of the Greeks was rediscovered and the effects the discoveries had on the and the effects the discoveries had on the culture of Europe at the time was culture of Europe at the time was revolutionaryrevolutionary

• Focusing on Focusing on DisputaDisputa again then, the again then, the painting gets the viewer in tune with the painting gets the viewer in tune with the psyche of the timepsyche of the time

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Question 2: Question 2: What historical knowledge can What historical knowledge can Disputa give us about the culture from which Disputa give us about the culture from which it emerged? (Contd.)it emerged? (Contd.)

• The clothing on most of the people is The clothing on most of the people is clearly Greek and not Italian or medieval clearly Greek and not Italian or medieval EuropeanEuropean

• Books inundate the entire painting Books inundate the entire painting representing and showing respect for the representing and showing respect for the knowledge to be gained from themknowledge to be gained from them

• God himself is seen as a scholarly figure God himself is seen as a scholarly figure (notice the hat)(notice the hat)

• Greek philosophy and thought were “in”Greek philosophy and thought were “in”

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Question 3: Question 3: For what reasons do you think this For what reasons do you think this piece of artwork was created? What motivated the piece of artwork was created? What motivated the creation? What can this tell you about the value creation? What can this tell you about the value system of the culture from which this artwork system of the culture from which this artwork emerged?emerged?

• Beauty: It was important for the people to Beauty: It was important for the people to adorn the “house of God” with beauty.adorn the “house of God” with beauty.

• They wanted to honour and respect God They wanted to honour and respect God with the most beautiful creations thinkable.with the most beautiful creations thinkable.

• No cost was too high, no effort too grandioseNo cost was too high, no effort too grandiose

• This emphasis tells the viewer something This emphasis tells the viewer something about the value system at the time of the about the value system at the time of the creation and the prominent role art played creation and the prominent role art played in societyin society

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Question 3: Question 3: For what reasons do you think this For what reasons do you think this piece of artwork was created? What motivated the piece of artwork was created? What motivated the creation? What can this tell you about the value creation? What can this tell you about the value system of the culture from which this artwork system of the culture from which this artwork emerged? (Contd.)emerged? (Contd.)• As a sermon and reminderAs a sermon and reminder: : The message of the The message of the

painting is clear. Jesus leads to salvationpainting is clear. Jesus leads to salvation• The painting is not only a work of art, but it also The painting is not only a work of art, but it also

serves as a sermonserves as a sermon • The viewer is reminded of the sacrifice Jesus made The viewer is reminded of the sacrifice Jesus made

and the reason there is sin in the world in the first and the reason there is sin in the world in the first placeplace

• Through the painting, the viewer is also reminded of Through the painting, the viewer is also reminded of the entire structure of the cosmos and their the entire structure of the cosmos and their individual place in itindividual place in it

• They are reminded that they need to be humble and They are reminded that they need to be humble and subservient not only to God but also the Churchsubservient not only to God but also the Church

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Final thoughts about Raphael’s Final thoughts about Raphael’s DisputaDisputa

• Not only was this painting knowledge of all Not only was this painting knowledge of all these things for people at the time, but still these things for people at the time, but still today, for those who are Christianstoday, for those who are Christians

• It represents knowledge and structureIt represents knowledge and structure • It represents security and faithIt represents security and faith • It represents tradition, family value, and It represents tradition, family value, and

stabilitystability • It represents love and equalityIt represents love and equality • Art is about knowledge; and in a clear Art is about knowledge; and in a clear

sense, sense, art is knowledgeart is knowledge..

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Lesson 2 Themes from which Lesson 2 Themes from which Artwork can be examined to gain Artwork can be examined to gain

KnowledgeKnowledge

Adoration of the Magi. 1423. Uffizi

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Cosmological Order (How the Cosmological Order (How the Universe is Ordered)Universe is Ordered)

• Artwork from around the world contains a Artwork from around the world contains a wealth of knowledge about the order of wealth of knowledge about the order of the universethe universe

• Art represents knowledge about the Art represents knowledge about the structure of the universe: good, bad, structure of the universe: good, bad, beginnings, ends, and so onbeginnings, ends, and so on

• Art represents knowledge about how Art represents knowledge about how people view the universe and how they people view the universe and how they believe it functionsbelieve it functions

• As the saying goes, “every picture says a As the saying goes, “every picture says a thousand words”thousand words”

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Hindu Art and Cosmological Hindu Art and Cosmological OrderOrder

• The universe is The universe is made up of an made up of an eternal eternal substance called substance called MayaMaya

• Maya is likened Maya is likened to an oceanto an ocean

• Only Maya is Only Maya is eternaleternal Vishnu emerging from the Ocean of Maya

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The universe is cyclicalThe universe is cyclical

• The existence of the The existence of the universe and everything universe and everything in it goes in cyclesin it goes in cycles

• Everything, even the Everything, even the universe, is born, it universe, is born, it lives, it dies, and it is lives, it dies, and it is reborn againreborn again

• What this belief systems What this belief systems means for humankind is means for humankind is that everything, even that everything, even the greatest deeds, has the greatest deeds, has been done again and been done again and againagain

Shiva dancing on Aspmara

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DharmaDharma, , the essence of the essence of goodgood

• Even the richest and most successful of human Even the richest and most successful of human beings is but a short-lived, temporary creature beings is but a short-lived, temporary creature that has only succeeded in doing what has been that has only succeeded in doing what has been done an infinite number of times in the past and done an infinite number of times in the past and will be done an infinite number of times in the will be done an infinite number of times in the futurefuture

• Unenlightened people will Unenlightened people will strive for riches and strive for riches and wealth and fame as if these things were the true wealth and fame as if these things were the true key to personal happiness, but the attempts wil key to personal happiness, but the attempts wil not bring true happinessnot bring true happiness

• Instead focus can be put on living a good life in Instead focus can be put on living a good life in accordance with accordance with dharmadharma, or the essence of good, , or the essence of good, which all people inherently knowwhich all people inherently know

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Examining the knowledge in Examining the knowledge in the artworkthe artwork

Omkarananda Kamakshi-Devi Mandir Temple. Muni-ki-reti , India.

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Vishnu’s four armsVishnu’s four arms

• The four arms represent The four arms represent the four stages of the four stages of existence found in the existence found in the universe, namely universe, namely birth-birth-life-death-and life-death-and formlessness found in formlessness found in MayaMaya

• The four directions of The four directions of space (thus absolute space (thus absolute power)power)

• The four stages of human The four stages of human development and the four development and the four aims of life (pleasure, aims of life (pleasure, success, righteousness, success, righteousness, and liberation)and liberation)

Vishnu emerging from the Ocean of Maya

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Vishnu’s Dark ColorVishnu’s Dark Color

• Darkness is Darkness is representative of the representative of the formless Maya before light formless Maya before light or anything has come into or anything has come into existenceexistence

• There is a balance There is a balance between light and dark. between light and dark. They are inseparable from They are inseparable from one another because that one another because that is the nature of existenceis the nature of existence

Vishnu emerging from the Ocean of Maya

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Vishnu’s ConchVishnu’s Conch

• The shell Vishnu holds The shell Vishnu holds in his hand is a symbol in his hand is a symbol to do with the creation to do with the creation of everythingof everything

• A symbol of water; the A symbol of water; the eternal ocean—Mayaeternal ocean—Maya

• The conch is the The conch is the symbol of the origin of symbol of the origin of existenceexistence

Vishnu emerging from the Ocean of Maya

Page 30: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Shiva’s flame in handShiva’s flame in hand

• Shiva is associated Shiva is associated with the bringing to a with the bringing to a close the cycle of the close the cycle of the universeuniverse

• The cycle ends with The cycle ends with Shiva. In this sense he Shiva. In this sense he is the destroyer of all is the destroyer of all thingsthings

• The fire is a symbol of The fire is a symbol of the destructive the destructive tendencies and tendencies and reminder to the reminder to the viewer of the way viewer of the way things arethings are

Shiva dancing on Aspmara

Flame represents the end of the cycle

Page 31: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Shiva dancing on AspmaraShiva dancing on Aspmara

• The funny little figure The funny little figure Shiva dances upon is Shiva dances upon is Aspmara, the dwarf Aspmara, the dwarf of ignoranceof ignorance

• Only by defeating Only by defeating ignorance about the ignorance about the way of the universe way of the universe can one attain can one attain happinesshappiness

Aspmara the dwarf of ignorance

Page 32: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Shiva’s DrumShiva’s Drum

• The drum, like Vishnu’s The drum, like Vishnu’s conch, and is a symbol conch, and is a symbol of the origin of existenceof the origin of existence

• Even though Shiva is Even though Shiva is associated with the associated with the disintegrating disintegrating tendencies of the tendencies of the universe, he is still part universe, he is still part of everythingof everything

• The concept of The concept of existence is only one existence is only one thing and cannot thing and cannot actually be separated actually be separated into distinct aspects of into distinct aspects of creation, existence, and creation, existence, and destructiondestruction

Shiva

Page 33: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Art and Knowledge about Art and Knowledge about Social Structure: Kingdom of Social Structure: Kingdom of

BeninBenin

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The Oba was the main manThe Oba was the main man

• Oba was the name Oba was the name given to the king of given to the king of the Edo people in the the Edo people in the Kingdom of BeninKingdom of Benin

• Direct descendent Direct descendent from Osanobua, the from Osanobua, the creator of the creator of the universeuniverse

• Divine right to rule Divine right to rule the Edo peoplethe Edo people

• Political and magical Political and magical spiritual leaderspiritual leader

Page 35: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

When an Oba diedWhen an Oba died

• The new Oba’s most The new Oba’s most important task was to important task was to make a Bronze make a Bronze casting of the casting of the previous Oba’s headprevious Oba’s head

• If not honoured If not honoured properly the old Oba properly the old Oba would wreak havoc would wreak havoc from beyond the from beyond the gravegrave

Page 36: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

The Oba owned everythingThe Oba owned everything

• All of the peopleAll of the people

• All of the landAll of the land

• All of the resources, and especially All of the resources, and especially all of the metalall of the metal

• If something was made of metal If something was made of metal (bronze) it was immediately seen as (bronze) it was immediately seen as being royalbeing royal

Page 37: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Knowledge about Social Knowledge about Social Structure through artworkStructure through artwork

• Artwork was a sign of powerArtwork was a sign of power

• If it was made in metal, it was made If it was made in metal, it was made by decree of the Obaby decree of the Oba

• Anyone that was pictured in the Anyone that was pictured in the artwork must have been very artwork must have been very important in societyimportant in society

Page 38: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Size matters: The Oba isSize matters: The Oba is

• The biggestThe biggest

• Most fully clothedMost fully clothed

• Adorned with Adorned with important political important political and spiritual and spiritual symbolssymbols

Page 39: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Symbol of ultimate power: The Symbol of ultimate power: The AdaAda• The royal ceremonial The royal ceremonial

sword is known as the sword is known as the AdaAda

• Only the Oba or Only the Oba or someone on royal someone on royal business decreed by the business decreed by the Oba was allowed to carry Oba was allowed to carry or even touch the Adaor even touch the Ada

• The Ada was the symbol The Ada was the symbol of royal order and of royal order and military mightmilitary might

• The Ada meant statusThe Ada meant status A plaque showing a member of

the Benin military

Page 40: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

To the Edo (the people of To the Edo (the people of Benin) Benin)

• The artwork was knowledge about The artwork was knowledge about society and social structuresociety and social structure

• The artwork told people how things The artwork told people how things werewere

• The artwork told the Edo which The artwork told the Edo which buildings were important and which buildings were important and which people needed to be respectedpeople needed to be respected

Page 41: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

To people todayTo people today

• An examination of the artwork can give a An examination of the artwork can give a great amount of knowledge about Benin great amount of knowledge about Benin societysociety

• The artwork is a testament to a long-standing The artwork is a testament to a long-standing dynasty of rulers and people which existed for dynasty of rulers and people which existed for centuries before any European contactcenturies before any European contact

• It is a testament to a way of life and world It is a testament to a way of life and world viewview

• It is also a testament to how another culture It is also a testament to how another culture chose to express itself creativelychose to express itself creatively

• There is indeed a wealth of knowledge to be There is indeed a wealth of knowledge to be found in the artworkfound in the artwork

Page 42: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Relationship to the bodyRelationship to the body

• The representation of the human body in The representation of the human body in artwork is an indicator as to many of the artwork is an indicator as to many of the values a given society holdsvalues a given society holds

• A direct reflection of ethical values and A direct reflection of ethical values and moral codesmoral codes

• Linked to the underlying ideals of beauty Linked to the underlying ideals of beauty that a culture holds dearthat a culture holds dear

• In this sense artwork is a window into the In this sense artwork is a window into the “soul” of a culture. It is a way to get into “soul” of a culture. It is a way to get into contact with the realities of other cultures.contact with the realities of other cultures.

Page 43: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

What can the image reveal?What can the image reveal?

• The reproductive The reproductive capabilities significant to capabilities significant to the culturethe culture

• Reproduction must have Reproduction must have been important, perhaps been important, perhaps even mysticaleven mystical

• The plump female body The plump female body was not something to be was not something to be ashamed ofashamed of

• The body was not shameful The body was not shameful or dirty. Nudity was not or dirty. Nudity was not culturally unacceptableculturally unacceptable The Willendorf Woman 30,000-25,000 BC

Naturhistorisches Museum, Vienna

Page 44: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

What differences about the cultural What differences about the cultural values can the images reveal? (image values can the images reveal? (image

set 1)set 1)

Dome and minaret of the Madrasa-I Shah. Ifahan, Iran Masjid-I-Jami (tile work); Islamic,Safavid Dynasty, Isfahan, Iran

Page 45: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

What differences about the cultural What differences about the cultural values can the images reveal? (image values can the images reveal? (image set 2)set 2)

Fra Bartolommeo Reims Cathedral. Reims, France

Christ with four evangelists . 1517

Page 46: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

What differences about the What differences about the cultural values can the images cultural values can the images

reveal?reveal?• No bodies pictured at all in the No bodies pictured at all in the

Islamic artworkIslamic artwork

• Representing the body in Islam Representing the body in Islam was/is a form of iconography or was/is a form of iconography or image worshipimage worship

• This act is considered ethically wrong This act is considered ethically wrong because it diverts worship from Allahbecause it diverts worship from Allah

Page 47: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

What differences about the What differences about the cultural values can the images cultural values can the images

reveal? (Contd.)reveal? (Contd.)• In the Catholic tradition, it would be In the Catholic tradition, it would be

unthinkable to have a 12th 16th century unthinkable to have a 12th 16th century church or cathedral unadorned with church or cathedral unadorned with imageryimagery

• The cathedral would not be considered a The cathedral would not be considered a thing of beautything of beauty

• God would not be respected to the degree God would not be respected to the degree he deservedhe deserved

• God was to be honoured with beauty. God was to be honoured with beauty. Imagery was considered beautifulImagery was considered beautiful

Page 48: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Final thoughts concerning Final thoughts concerning relationship to the bodyrelationship to the body

• important knowledge resides in how important knowledge resides in how a culture represents the human body a culture represents the human body in its artworkin its artwork

• The representation gets at the very The representation gets at the very heart of a culture’s belief systems heart of a culture’s belief systems and its ethical way of lifeand its ethical way of life

• This is a form of knowledgeThis is a form of knowledge

Page 49: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Lesson 3 Poetry and Lesson 3 Poetry and KnowledgeKnowledge

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An in class lessonAn in class lesson

• This lesson is an in-class discussion This lesson is an in-class discussion lesson which focuses on three lesson which focuses on three poems. poems.

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Discussion questions for Discussion questions for The Stolen The Stolen ChildChild

What knowledge is being relayed in this What knowledge is being relayed in this poem?poem?

What is being said about the world?What is being said about the world? Is anything being said about childhood or Is anything being said about childhood or

children? If so what?children? If so what? Are there any ideals in the poem which Are there any ideals in the poem which

are being contrasted against the world?are being contrasted against the world? What role does nature play in the poem?What role does nature play in the poem? What does the last line in the poem What does the last line in the poem

mean? Is it knowledge? Why or why not?mean? Is it knowledge? Why or why not? Is “real” knowledge being generated in Is “real” knowledge being generated in

this poem? Why do you answer this way?this poem? Why do you answer this way? Some people may interpret this poem in Some people may interpret this poem in

different ways. What do you think this different ways. What do you think this means in regards to knowledge about the means in regards to knowledge about the poem?poem?

William Butler Yeats in Dublin in 1908

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Discussion questions for Discussion questions for Surprised by Surprised by JoyJoy

Does Wordsworth relay Does Wordsworth relay knowledge in the poem? If so, knowledge in the poem? If so, what kind of knowledge? If not, what kind of knowledge? If not, why not?why not?

What emotion is relayed in the What emotion is relayed in the poem? Is this knowledge?poem? Is this knowledge?

The title of the poem is The title of the poem is Surprised Surprised by joyby joy. Given the background . Given the background information, do you information, do you knowknow what what he means by the title?he means by the title?

Why does the reader who has Why does the reader who has never lost a child or another never lost a child or another loved one understand this poem?loved one understand this poem?

William Wordsworth. 1770-1850

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Discussion questions for Discussion questions for Surprised by Surprised by Joy (contd.)Joy (contd.)

Some would say that we all possess a type of knowledge which Some would say that we all possess a type of knowledge which allows us to inherently understand human emotion. This allows us to inherently understand human emotion. This understanding is not based on words or culture. Is this a type of understanding is not based on words or culture. Is this a type of knowledge? knowledge?

Is “real” knowledge being generated in this poem? Why do you Is “real” knowledge being generated in this poem? Why do you answer this way?answer this way?

Some people may interpret this poem in different ways. What do Some people may interpret this poem in different ways. What do you think this means in regards to knowledge about the poem?you think this means in regards to knowledge about the poem?

Even if someone considers the poem to be subjective knowledge Even if someone considers the poem to be subjective knowledge (meaning it is only knowledge on the part of the author or an (meaning it is only knowledge on the part of the author or an individual reader), does this mean that the knowledge here is individual reader), does this mean that the knowledge here is any less valid as knowledge? Why or why not?any less valid as knowledge? Why or why not?

Many in the class have likely interpreted the main ideas in the Many in the class have likely interpreted the main ideas in the poem in similar ways. Explain this phenomenonpoem in similar ways. Explain this phenomenon

Page 54: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Discussion questions for Discussion questions for Dulce Et Decorum EstDulce Et Decorum Est

What can be known from reading What can be known from reading this poem?this poem?

Can something about war be known Can something about war be known from reading this poem? Something from reading this poem? Something about history? What?about history? What?

What does the Latin text at the end What does the Latin text at the end of the poem mean? (Let the of the poem mean? (Let the students have a go at this before students have a go at this before giving them the translation). The giving them the translation). The ideas about what the Latin text ideas about what the Latin text means are likely rather similar. Why means are likely rather similar. Why is this? Does this mean there is is this? Does this mean there is some type underlying knowledge?some type underlying knowledge?

Is “real” knowledge being Is “real” knowledge being generated in this poem? Why do generated in this poem? Why do you answer this way?you answer this way?

Wilfred Owen 1893-1918.Killed in action in France one week

before the end of the First World War.

Page 55: Chapter 7 The Arts Raphael, Transfiguration, 1517. Vatican museums, Rome

Discussion questions for Discussion questions for Dulce Et Decorum Est (contd.)Dulce Et Decorum Est (contd.)

Dulce et decorum est / Pro patria moriDulce et decorum est / Pro patria mori is a line taken is a line taken from Roman lyrical poet Horace’s odes. Translated, into from Roman lyrical poet Horace’s odes. Translated, into English it means something similar to: English it means something similar to: "It is sweet and "It is sweet and fitting to die for one's country."fitting to die for one's country." What does Owen mean What does Owen mean by this? Is his statement knowledge? Why or why not?by this? Is his statement knowledge? Why or why not?

Some people may interpret this poem in different ways. Some people may interpret this poem in different ways. What do you think this means in regards to knowledge What do you think this means in regards to knowledge about the poem?about the poem?

Even if someone considers the poem to be subjective Even if someone considers the poem to be subjective knowledge (meaning it is only knowledge on the part of knowledge (meaning it is only knowledge on the part of the author or an individual reader), does this mean that the author or an individual reader), does this mean that the knowledge here is any less valid as knowledge? the knowledge here is any less valid as knowledge? Why or why not?Why or why not?

Many in the class have likely interpreted the main ideas Many in the class have likely interpreted the main ideas in the poem in similar ways. Explain this phenomenon.in the poem in similar ways. Explain this phenomenon.

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Lesson 4 Interpretation Lesson 4 Interpretation

• This lesson This lesson consists of a consists of a story which will story which will be told to the be told to the class and then class and then interpreted. interpreted. The main The main points of the points of the story will story will follow.follow.

This seems like a nice place to have our story

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Once upon a time: Once upon a time:

• A young prince. Handsome, A young prince. Handsome, rich, heir to kingdom. Has the rich, heir to kingdom. Has the ring of kings on his finger.ring of kings on his finger.

• Will only be king upon Will only be king upon marrying. His mother the marrying. His mother the queen is now ruling.queen is now ruling.

Prince is in love with common Prince is in love with common peasant girl from town. He peasant girl from town. He plans to marry her.plans to marry her.

Mother (widow queen) does Mother (widow queen) does not like the town’s girl. She not like the town’s girl. She hates the girl’s poverty. The hates the girl’s poverty. The prince should marry a princessprince should marry a princess—the perfect princess—who is —the perfect princess—who is impossible to find.impossible to find.

• Also, when the prince marries, Also, when the prince marries, he will be king and the mother he will be king and the mother loses her power.loses her power.

“You will never have my son. Put your peasant clothes back on and return to your village!”

Sir Tristram and Queen Yseult by Marie Spartali Stillman

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The Story (contd.)The Story (contd.)

Prince respects and loves the mother, Prince respects and loves the mother, but also loves the girlbut also loves the girl

• The widow queen is having an affair The widow queen is having an affair with a wizard. She commands the with a wizard. She commands the wizard to put a spell on the prince to wizard to put a spell on the prince to make him fall out of lovemake him fall out of love

• Wizard also has eyes on throne. Wizard also has eyes on throne. Decides to kill the prince, and marry Decides to kill the prince, and marry mothermother

• While the prince is with the peasant girl While the prince is with the peasant girl the wizard comes to kill the princethe wizard comes to kill the prince

• They fight. The mother and peasant girl They fight. The mother and peasant girl watchwatch

Prince nearly kills wizard, but a Prince nearly kills wizard, but a desperation spell by wizard changes desperation spell by wizard changes prince to a dragonprince to a dragon

Ring of king’s falls from finger (only way Ring of king’s falls from finger (only way to break spell is to replace ring on to break spell is to replace ring on finger)finger)

Fairly well clothed for a dragon,

but he is missing his favourite ring

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The Story (contd. again)The Story (contd. again)

The prince/dragon flies away promising vengeanceThe prince/dragon flies away promising vengeance• The girl sees ring. Takes it. Escapes. Steals horse The girl sees ring. Takes it. Escapes. Steals horse

and rides to village in the hillsand rides to village in the hills • The queen is now furious and demands the girl and The queen is now furious and demands the girl and

ring from villagering from village • Only by having the ring in her control can she keep Only by having the ring in her control can she keep

her power. She decides her son shall remain a her power. She decides her son shall remain a dragon for all eternitydragon for all eternity

• The villagers refuse the queen’s demands. They The villagers refuse the queen’s demands. They refuse to bow to the yoke of an evil and unjust refuse to bow to the yoke of an evil and unjust monarchmonarch

• The queen orders her commander-in-chief of her The queen orders her commander-in-chief of her army, who is also one of her lovers, to find and kill army, who is also one of her lovers, to find and kill or capture the dragon and raze the villageor capture the dragon and raze the village

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More of The StoryMore of The Story• He is to kill the girl and bring He is to kill the girl and bring

the ringthe ring • The dragon meanwhile meets a The dragon meanwhile meets a

mystical forest nymph. Falls in mystical forest nymph. Falls in love with her. She is a shape love with her. She is a shape changer and takes on any form changer and takes on any form to fit his desire. For a brief time to fit his desire. For a brief time he forgets about peasant girlhe forgets about peasant girl

• The general raises and army The general raises and army and attacks the villageand attacks the village

• The villagers make a stand and The villagers make a stand and fight off the rich queen’s army. fight off the rich queen’s army. There are many of them and There are many of them and they want to have the same they want to have the same opportunities as the wealthy. opportunities as the wealthy. Other villages join in the fightOther villages join in the fight

• The town leader suddenly The town leader suddenly becomes a generalbecomes a general

The general rides off to battle.

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The Story yet againThe Story yet again• The queen will not give upThe queen will not give up • She commands the wizard to put a love spell on the town She commands the wizard to put a love spell on the town

leader. She seduces the leader, and makes him promise to leader. She seduces the leader, and makes him promise to give up the girl and ringive up the girl and ringg

• The queen tricks the leader into letting a garrison of her The queen tricks the leader into letting a garrison of her troops in the villagetroops in the village

• The girl sees this and flees. She does not trust the queen’s The girl sees this and flees. She does not trust the queen’s intentionsintentions

• By surprise the garrison takes the village and enslaves By surprise the garrison takes the village and enslaves populationpopulation

• The peasant girl searches for the dragon princeThe peasant girl searches for the dragon prince • The dragon hears the girl’s cries and remembers his love The dragon hears the girl’s cries and remembers his love

for her. He leaves the mystical forest nymph who cries and for her. He leaves the mystical forest nymph who cries and returns to the forest, taking the shape of a butterfly and returns to the forest, taking the shape of a butterfly and disappearing into the sunsetdisappearing into the sunset

• The dragon is now healthy again. Flies to the castle to fight The dragon is now healthy again. Flies to the castle to fight his mother’s three lovers. He wants to take his place at the his mother’s three lovers. He wants to take his place at the throne and they are in his way. He must fight the general, throne and they are in his way. He must fight the general, the wizard, and the town’s leaderthe wizard, and the town’s leader

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Even moreEven more• The fight beginsThe fight begins • The town’s leader has nothing and is easily killed by the The town’s leader has nothing and is easily killed by the

dragon’s firedragon’s fire • The general unveils his huge, thick dragon killing arrows. The general unveils his huge, thick dragon killing arrows.

He does not want to give up his place at queen’s side. He does not want to give up his place at queen’s side. Arrows shot. One pierces dragon’s shoulderArrows shot. One pierces dragon’s shoulder

• Nevertheless, the dragon stamps the general to deathNevertheless, the dragon stamps the general to death • It is the wizard’s turn nowIt is the wizard’s turn now • The Wizard takes out powerful wand and uses ice spell. The Wizard takes out powerful wand and uses ice spell.

Dragon partially frozen but thaws himself with breathDragon partially frozen but thaws himself with breath • Wizard flees into tallest tower but the dragon tears the roof Wizard flees into tallest tower but the dragon tears the roof

off and bites the wizard in halfoff and bites the wizard in half • The dragon prince now faces his motherThe dragon prince now faces his mother• Meanwhile the townspeople begin surrounding the castleMeanwhile the townspeople begin surrounding the castle• The queen creams “All is lost!” and jabs a sword into her The queen creams “All is lost!” and jabs a sword into her

stomach and expires dramaticallystomach and expires dramatically

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The Final ActThe Final Act• Suddenly, the town’s girl Suddenly, the town’s girl

comes riding up on a white comes riding up on a white horse (the horse is the forest horse (the horse is the forest nymph but no one knows this)nymph but no one knows this)

• The Town’s girl presents the The Town’s girl presents the ring to the dragonring to the dragon

• He magically becomes prince He magically becomes prince againagain

• The ring reminds him of the The ring reminds him of the town people’s sacrifices and town people’s sacrifices and he immediately frees them he immediately frees them and gives them some of the and gives them some of the riches the queen had stolenriches the queen had stolen

• Everyone is happy; except for Everyone is happy; except for the forest nymph who the forest nymph who somehow wants to seduce the somehow wants to seduce the prince and get him back againprince and get him back again

The EndThe End

A broken hearted forest nymph or a sneaky lady?

Forest Nymph by Eric Gooch

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Lesson 5 Problems of Lesson 5 Problems of Knowledge Knowledge

in Artin Art

Laura Adams OM, 2004. Bronze

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What is Art?What is Art?

• What makes something art? What makes something art?

• Does hanging it in a gallery make it Does hanging it in a gallery make it art? art?

• Come up with a definition of art.Come up with a definition of art.

• Does the definition of art have to do Does the definition of art have to do with what one understands the word with what one understands the word “art” to mean?“art” to mean?

• Is pornography art?Is pornography art?

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SubjectivitySubjectivity

• People perceive and understand artwork People perceive and understand artwork differently depending on who they are and differently depending on who they are and the experiences they have hadthe experiences they have had

• The objects of art themselves do not The objects of art themselves do not contain knowledge. The experience of contain knowledge. The experience of artwork is an interaction between the artwork is an interaction between the object and the perceiverobject and the perceiver

• If there were no perceivers there would be If there were no perceivers there would be no meaningno meaning

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Subjectivity (contd.)Subjectivity (contd.)

• However, people are very However, people are very different in different placesdifferent in different places

• Because of this perhaps Because of this perhaps there is no real knowledge there is no real knowledge in art itself since what art in art itself since what art means depends very much means depends very much on what someone feels or on what someone feels or believes it meansbelieves it means

• Were the Buddha statues Were the Buddha statues art? What did they mean?art? What did they mean?

• Does it depend on who you Does it depend on who you ask?ask?

One of the Bamiyan Buddhas before

and after the Taliban destroyed it in 2001.

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Subjectivity (contd.)Subjectivity (contd.)

• Meaning in art is a form of subjective Meaning in art is a form of subjective knowledgeknowledge

• Knowledge in art comes subjectively and Knowledge in art comes subjectively and individuallyindividually

• Subjectivity is only a problem for Subjectivity is only a problem for knowledge if knowledge is defined in a knowledge if knowledge is defined in a pragmatic sensepragmatic sense

• Once again what knowledge is depends to Once again what knowledge is depends to a large degree on how one defines ita large degree on how one defines it

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Changing meaningsChanging meanings

• Meaning in art changes Meaning in art changes with timewith time

• Unlike math where the Unlike math where the meaning of formulas and meaning of formulas and theorems stay constanttheorems stay constant

• If there was any real If there was any real knowledge and meaning knowledge and meaning in art shouldn’t it stay in art shouldn’t it stay the same?the same?

Akenaten and Nefretiti

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Is there a real meaning to Is there a real meaning to know?know?

• Does the intention of the artist or author Does the intention of the artist or author have any significance?have any significance?

• Does any meaning and knowledge have to Does any meaning and knowledge have to do with how the perceiver experiences the do with how the perceiver experiences the artworkartwork

• Perhaps artwork is a reaction between the Perhaps artwork is a reaction between the perceiver and the object, and there is no perceiver and the object, and there is no A-prioriA-priori reason as to why the author’s or reason as to why the author’s or artist’s original meaning is necessarily artist’s original meaning is necessarily more valid than any perceivers more valid than any perceivers subsequent interpretation of the meaning.subsequent interpretation of the meaning.

• If so, what does this mean for knowledge? If so, what does this mean for knowledge?

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Cultural differencesCultural differences• Cultural differences interfere with understanding Cultural differences interfere with understanding

the knowledge contained in artworkthe knowledge contained in artwork• Perceivers from other cultures or times will not be Perceivers from other cultures or times will not be

able to understand the knowledge in the artworkable to understand the knowledge in the artwork• The knowledge is not accessible for everyoneThe knowledge is not accessible for everyone• Artwork is often a code or a Artwork is often a code or a system of signals or system of signals or

symbols for communication. symbols for communication. Not everyone will be Not everyone will be able to speak the specific “language” of that art.able to speak the specific “language” of that art.

• means that knowledge in art can not be objective means that knowledge in art can not be objective knowledge since everyone can not partake of itknowledge since everyone can not partake of it