Pick two art pieces of the same media (example: two sculptures, two paintings, two ceramics, two architectural structures, etc) that interest you from any culture and time period from Mesoamerica and Andean cultures until the year 1521. Please choose something that you have a high level of interest in. You will then break the assignment down into the following sections. Read below for a detailed description of each section and what needs to be included in each section. Each section can be more than one paragraph if you want or need. Please note that you have to use Chicago Manual Citation style to cite and use footnotes for all information you get from outside sources.
Sample solution
Dante Alighieri played a critical role in the literature world through his poem Divine Comedy that was written in the 14th century. The poem contains Inferno, Purgatorio, and Paradiso. The Inferno is a description of the nine circles of torment that are found on the earth. It depicts the realms of the people that have gone against the spiritual values and who, instead, have chosen bestial appetite, violence, or fraud and malice. The nine circles of hell are limbo, lust, gluttony, greed and wrath. Others are heresy, violence, fraud, and treachery. The purpose of this paper is to examine the Dante’s Inferno in the perspective of its portrayal of God’s image and the justification of hell.
In this epic poem, God is portrayed as a super being guilty of multiple weaknesses including being egotistic, unjust, and hypocritical. Dante, in this poem, depicts God as being more human than divine by challenging God’s omnipotence. Additionally, the manner in which Dante describes Hell is in full contradiction to the morals of God as written in the Bible. When god arranges Hell to flatter Himself, He commits egotism, a sin that is common among human beings (Cheney, 2016). The weakness is depicted in Limbo and on the Gate of Hell where, for instance, God sends those who do not worship Him to Hell. This implies that failure to worship Him is a sin.
God is also depicted as lacking justice in His actions thus removing the godly image. The injustice is portrayed by the manner in which the sodomites and opportunists are treated. The opportunists are subjected to banner chasing in their lives after death followed by being stung by insects and maggots. They are known to having done neither good nor bad during their lifetimes and, therefore, justice could have demanded that they be granted a neutral punishment having lived a neutral life. The sodomites are also punished unfairly by God when Brunetto Lattini is condemned to hell despite being a good leader (Babor, T. F., McGovern, T., & Robaina, K. (2017). While he commited sodomy, God chooses to ignore all the other good deeds that Brunetto did.
Finally, God is also portrayed as being hypocritical in His actions, a sin that further diminishes His godliness and makes Him more human. A case in point is when God condemns the sin of egotism and goes ahead to commit it repeatedly. Proverbs 29:23 states that “arrogance will bring your downfall, but if you are humble, you will be respected.” When Slattery condemns Dante’s human state as being weak, doubtful, and limited, he is proving God’s hypocrisy because He is also human (Verdicchio, 2015). The actions of God in Hell as portrayed by Dante are inconsistent with the Biblical literature. Both Dante and God are prone to making mistakes, something common among human beings thus making God more human.
To wrap it up, Dante portrays God is more human since He commits the same sins that humans commit: egotism, hypocrisy, and injustice. Hell is justified as being a destination for victims of the mistakes committed by God. The Hell is presented as being a totally different place as compared to what is written about it in the Bible. As a result, reading through the text gives an image of God who is prone to the very mistakes common to humans thus ripping Him off His lofty status of divine and, instead, making Him a mere human. Whether or not Dante did it intentionally is subject to debate but one thing is clear in the poem: the misconstrued notion of God is revealed to future generations.
References
Babor, T. F., McGovern, T., & Robaina, K. (2017). Dante’s inferno: Seven deadly sins in scientific publishing and how to avoid them. Addiction Science: A Guide for the Perplexed, 267.
Cheney, L. D. G. (2016). Illustrations for Dante’s Inferno: A Comparative Study of Sandro Botticelli, Giovanni Stradano, and Federico Zuccaro. Cultural and Religious Studies, 4(8), 487.
Verdicchio, M. (2015). Irony and Desire in Dante’s” Inferno” 27. Italica, 285-297.
Sample Answer
Sample Answer
Title Page
– Artistic Masterpieces from Mesoamerica and Andean Cultures: A Comparative Study
– [Your Name]
– [Institution Name]
– [Date]
Introduction
Mesoamerican and Andean cultures have produced remarkable artistic creations that continue to captivate audiences worldwide. In this paper, we will explore two art pieces from these regions, delving into their historical significance, cultural context, and artistic techniques. The selected artworks will be analyzed to unravel the intricate narratives and symbolism embedded within them. Through this comparative study, we aim to gain a deeper understanding of the artistic traditions and cultural legacies of Mesoamerican and Andean civilizations.
Visual Analysis
Mesoamerican Art Piece: “The Calendar Stone” (Aztec, 14th-16th century)
The “Calendar Stone,” also known as the Aztec Sun Stone, is a monumental sculpture that showcases the sophisticated astronomical knowledge and artistic prowess of the Aztec civilization. Carved from a single piece of basalt, this circular stone monument measures over 3 meters in diameter and weighs approximately 24 tons. The intricate relief carving on the surface of the stone represents various cosmic elements, including the sun god Tonatiuh at the center, surrounded by symbolic glyphs and celestial motifs.
The Calendar Stone serves as a visual representation of the Aztec calendar system, which intertwined religious beliefs, rituals, and timekeeping. The concentric rings of glyphs and symbols on the stone correspond to different calendrical cycles, offering a complex system for tracking time and religious ceremonies. The sheer complexity and precision of the carving demonstrate the Aztecs’ deep understanding of astronomy and their reverence for cosmic forces.
Andean Art Piece: “The Moche Portrait Vessel” (Moche, 1st-8th century)
The Moche Portrait Vessels are ceramic artifacts created by the Moche civilization of ancient Peru. One such vessel depicts a portrait of a high-status individual, characterized by intricate facial features, elaborate headdress, and symbolic ornaments. The Moche artisans employed fine-line painting techniques and realistic portrayals to capture the essence of their subjects with remarkable detail and precision.
The Portrait Vessels played a crucial role in Moche society, serving as ceremonial objects used in rituals and burials. The lifelike representations on these vessels provide insights into the social hierarchy, religious beliefs, and artistic sophistication of the Moche civilization. Through these masterful ceramic creations, the Moche artists immortalized their rulers and elites, preserving their legacy for generations to come.
Conclusion
The Calendar Stone from Mesoamerica and the Moche Portrait Vessel from Andean cultures exemplify the artistic ingenuity and cultural richness of ancient civilizations in the Americas. These masterpieces not only showcase the technical skill and aesthetic sensibilities of their creators but also offer profound insights into the belief systems, social structures, and historical narratives of Mesoamerican and Andean societies. By studying these artworks in depth, we can appreciate the enduring legacy of indigenous cultures and the timeless beauty of their artistic expressions.
Illustration Page
– Insert images of “The Calendar Stone” (Aztec) and “The Moche Portrait Vessel” (Moche) here.
Bibliography
1. Kubler, George. The Art and Architecture of Ancient America: The Mexican, Maya, and Andean Peoples. Pelican History of Art. New Haven: Yale University Press, 1984.
2. Pasztory, Esther. Aztec Art. Norman: University of Oklahoma Press, 1998.
3. Silverman, Helaine. The Ancient Nasca World: New Insights from Science and Archaeology. Albuquerque: University of New Mexico Press, 2002.
