In this assignment I will be discussing ‘San Zaccaria, Venice’ by Thomas Struth from the views and opinions of notable critics: Sophie Howarth, James Lingwood and Waldemar Januszczak. In the book, ‘Essays on Remarkable Photographs’, Howarth begins by describing what can be seen in the image; explaining (2005:109) a couple can be seen in front of the altar. The man can be seen with a jacket hanging on his shoulder and the women with a camera bag; resembling the traditional tourist. Howarth then goes on to explain the middle-aged women behind the couple; suggesting (2005:109) the women is gazing at the candles from the left of the altar and that, (the middle-aged women) “seems deep in thought, or perhaps in prayer” (Howarth, 2005:109). Howarth goes onto describe the man seen in the foreground on the left of the image; suggesting (2005:109) the sunlight is casting warm tones on his back but his body language opposes this, it is cold and reserved. Howarth goes on to address the three visitors who can be seen gazing up towards the ceiling, suggesting (2005:109) they are appreciating the architecture and art of San Zaccaria. She then explains the subject in front of the three visitors; “woman accompanies two children, one whom is perched on the back of the pew, rocking two and fro”. (Howarth, 2005:109) …show more content…
She explains (2005:110) the composition of the image is centralizing Mary and Jesus to show their
OUR LADY MARY OF ZION: AFRICAN DEPICTIONS OF THE CHRISTIAN MOTHER OF GOD Rachel Heiderscheidt 11 December 2015 ART 311 Riep The Catholic cult of the Virgin has spread its influence throughout the world over the centuries. In this paper, I will compare Marian imagery from three different African cultures: ancient Egypt, Ethiopia, and the Kongo people in the Democratic Republic of the Congo to a typical example of Western Marian iconography in order to explore the ways in which each culture has taken existing icon types and expanded upon them, bringing their own unique cultural identity to the table. In this way, we can see not only the unique stylistic elements of each culture, but the depth of devotion the figure of Mary, and mother
In this evidence, Mary expresses how she’s fed up with the disappointment. But, she also shows
Once my friend was riding with me and he pointed out a statue too, not to say how lovely it was, but to ask why Catholics worship Mary. The question of why Catholics worship Mary is a common curiosity from Protestant-Christians and it is one that is based off of a completely false assumption. Always getting a bad reputation for “worshiping Mary”, some Catholic might pull away from their devotion to the Blessed Mother. If there is one thing Catholics can learn from this chapter it is that a love of Mother Mary is not worship and a devotion to her “does not prevent our honoring Our Lord. Nothing is more cruel than to say that she takes souls away from Christ” (Zia 85).
Reaching into the depth of maternal love in her heart for her son, helpless, hopeless, weak, grieving and in turmoil among those passing by on the road, who were uncaring, reviling, and mocking her son (Matthew 27:39-44; Mark 15:31; Luke 23:36,37,39). Only through the power of God uplifting and sustaining her could Mary have remained there, and yes, she knew, her son was the Son of God and Saviour. Yes, she saw the crowd that came to make a spectacle of her Son. Ringing in her ears were the shouts of the crowd saying Crucify Him, crucify Him, crucify Him. She was there when He was nailed to the cross when raised between a thief that mocked Him and one who received Him (Luke 23:40-43).
All these events laid upon Mary very heavily causing her to
In Barbara Kingsolver’s The Poisonwood Bible the Price family follows their missionary father, Nathan Price, to the Congo. Throughout the novel the children start out excited for the trip, but as time goes on they are longing to go home. Leah Price, the middle daughter, starts off ready for the journey and the new things she will learn and find and even though she is a girl from Bethlehem, Georgia she doesn’t hesitate to do anything to fit in. The surroundings, culture and people in the Congo begin to change her and she learns how to do new things and is enlightened in what she believes.
The imagery of the preceding Logos Hymn—including spirit becoming flesh and blood—is echoed throughout John’s account of this miracle. This passage is replete with symbolic devices, including Christ’s use of the word “woman” when he addresses his mother. What might simply seem like an offhanded, degrading response on Christ’s part, is actually his very sacred way of clarifying the important role played by Mary, and on a grander scale all women, in the salvation of humankind. Throughout the Bible, a “woman” is directly referred to as such at every major event—at the Creation, the Fall, the Incarnation, the Death, the Resurrection, and in an eschatological sense at the Second Coming. It is undeniably significant that Christ uses this title here, to symbolically reiterate Mary’s role as the means of the Incarnation, and as a witness of his divinity.
This proves that Mary's state of mind was altered. Other quotes from the story furthermore prove the theme of the
The sight of this picture imparted much of the luxurious repose and satisfaction, which we derive from contemplating the finest scenes of nature. Here was the poet, as well as the painter, touching the imagination, and making you see more than the picture contained. You saw the real light of the sun, you breathed the air of the country, you felt all the circumstances of a luxurious climate on the most serene and beautiful landscape; and the mind thus softened, you almost fancied you hear Italian music in the
Venice, “surrounded by mystery, what is underneath this water?” is a valid question that she seeked the answer to from many, but she soon found out that many Venetians like a good story, rather than the
This Christians in the 1st century drew half of the picture and the other finishes it. This was a secret way of indicating if a person was Christian. We can learn from this today by remembering that there are other ways of communicating faith even in situations where they are
The images dictate in the same way the Gospel narratives and even Eastern tradition narratives construct. That is an influence on the mind; folktales that leave lasting imageries. I believe that if Sarah Ruth is so much into religion, then how could she have possibly misread some of the stuff written in the Gospel. For example, Chapter 1 of St. John Gospel, “The word was made flesh, he lived among us, and we saw his glory.” I don’t understand that if she considers herself orthodox Christian, then what she must have thought these words meant.
In relation to how media may ‘record’ reality, Pasolini’s poetic form draws similarities with how his camera pans through city landscapes. Maurizio Viano said of Pasolini’s film criticism that ‘cinema ‘writes’ with real objects that compose a shot.’ However, this appears to predate his film work, as is evident in his poetry. As the subject walks the streets of Trastevere in poems ‘Serata Romana’ and ‘Il Pianto Della Scavatrice’, excessive enjambment depicts the gradual accumulation of images that create a composite picture of setting. This is in dialogue with relatively uniform line lengths mimicking the gentle pace strolling subjects experience their surroundings.
Una Scena in Primavera Against my glassy eyes is the reflection of a grand capitol, far too vast to be encompassed in the eyes of an individual. The sky, a jade ocean speckled with dots of white paint, served to frame each rooftop that reached beyond the densely forested mountains to touch it. I allowed the spring breeze to flow through my feathers as I circled. Oh, how I adored this city when I once walked it’s streets as a man. Even from afar, the amethyst statue of a woman clothed in a silken robe was immediately recognized.
In “Death in Venice”, there are several figures who work as triggers that seduced Aschenbach out from his self-restrained appreciation of beauty, and pushed him gradually into the realm of desire and unrestrained impulsions, which ultimately leaded him to his death. These figures are contextual symbols in this novella, and to Aschenbach, the encountering with each figure represented a new change to his path, and pushes him forward in his journey. The plot of this novella, which is Aschenbach’s journal, intensifies alone with the strengthening of the effect of each encountering, where it finally brings Aschenbach to the end of his journal: his death. The three most influential symbols are the foreigner in front of the mortuary chapel, the