Royal Portal Vs Annunciation

Artwork 1, The Coronation of the Virgin and Artwork 2, Christ Crucified were created by Velazquez. Both pieces explore aspects of religion and spirituality. Artwork 1 depicts the scene when Mary was crowned Queen of Heaven and Earth. Mary is the mother of the King and the most highly favoured daughter of God. She always obeyed God with her humbleness therefore Mary received the promised “Crown of glory that will never fade away,” (Peter 5:4) as she shared in all His sufferings. This can be seen as a reward for her holiness and perfection of virtues. In Artwork 2, the image focuses on the crucifixion of Jesus, reminding the viewer of the sacrifice he made for this sins of humanity.

Both paintings represent the Madonna (the Virgin Mary) with the baby Jesus on her lap. In the previous painting, the arch vault and throne on which the mother is seated is stylized very realistically along with the saints surrounding them are all in proportion to themselves and to each other. In the later painting the pose of the Madonna is elongated and exaggerated, the baby in the later painting is quite large and the angels in the picture are crammed to one side with a "prophet" on the opposite which is very small not coming up to the Madonna's knee.

The Ghent altarpiece and the San Zaccaria altarpiece have many similarities. Starting with the Virgin Mary and the belief in Christ. Both of these artworks depicts the Virgin Mary. At the top of the Ghent altarpiece shows scrolls and books or prophets and sibyls that predicted the coming of the Christ (the coming of the Messiah). The top left is the Old Testament prophet Zacharias and the on the top right we see the Old Testament prophet Micah. The moment that they predicted is unfolding right below the scrolls, which is a scene of the Annunciation. Gabriel is seen on the left and Mary on the right. On angel Gabriel’s hand is lilies, which symbolizes Mary’s purity, her seamlessness, and virginity. He announces her that she is about to conceive Christ. You can actually see words coming out of Gabriel’s mouth in Latin “Ave Maria” (Hail Mary full of grace… blessed art thou women”). On the right, there is a dove above Mary’s head and it symbolizes the Holy Spirit. There are also words coming out of her mouth in reply to angel Gabriel. But

When comparing and contrasting, Cimabue’s Madonna Enthroned with Angels and Prophets and Giotto’s Madonna Enthroned, the main idea of Mary is the same just the subject matter differs. Cimabue’s painting shows angels surrounding the throne. In Giotto’s work, the angels are in a more horizontal-like appearance.. These angels are all visibly showing their distinctive features and emotions. In Cimabue’s work, the throne is on a platform and in Giotto’s painting a roof is just above Madonna. These differences add to the painting. Giotto’s Mary looks attached to the ground, while in Cimabue’s Mary is floating. I also notice that Cimabue’s Mary shows lines to define her clothing. I believe to show Mary’s presence dark and light contrast on her to

At the bottom he has two more angels looking up instead of the four men. Giotto might of thought that these angels were more important for the virgin than the men holding scripts.

He also interprets the vision of the prophet Daniel. They both have a profound effect on a mass of people and their lives. Gabriel serves as an antithesis to the Archangel and symbolizes the frailty of mankind. Though he is a preacher of the gospel, he is actually overtaken with sin. Gabriel blames

Here he’s represented peacefully seated covered in a red robe and his head surrounded with the mandatory golden halo and golden light beaming out of him in the four directions of the world. The light blue background creates a sensation of heavenly ascending and lightness. If you are expecting to see the elaborate paintings and mosaics covering the walls and ceilings of the typical Byzantine-style church, you will be surprised to see that this cathedral is very simplistic compared to the temples in Eastern Europe. Here important biblical scenes are covering walls under arcs from top to bottom. Large scale frescos tell us stories about the birth of Jesus, the last supper, his crucifixion, his resurrection and ascending. The canon is very strict as of what scenes should be depicted and where should they be located. By rule the icons should be stylized, with little details, and the faces should not represent real human faces. This way the worshipers won’t feel like they are praying to a person they know or have seen. Similar rules apply for the space in the icon. There is no perspective or linear gradation which creates a sense of other reality. Styles may change through the centuries but these fundamental rules have never changed since the 8th

In this relief, we see it as Christ the child shares the viewer his joy of starting his new adventure as well as praising the purity of Virgin Mary. There are also three angels emerging from the cloud. In the Old Testament, angel’s functions refer to convey God’s will to mankind, which in this relief the angels reminds us of their role as “annunciators (ABRAHAM, 2: The three angels). They were the ones who carried messages from god and annunciated the birth of Christ. They are the witnesses of Christ the child coming to the human world as well as proof of Virgin Mary’s virtue of immaculate. In this relief, they are the guardian of the Virgin and child as well as admirers of Mary’s pure and virgin status. With their hands holding together in prayer, they show their blessings and caring to the mother and son as well as to the human world. In addition, unlike other Virgin Mary we see in churches’ altarpieces that are usually seated on throne, we also have Mary sitting humbly on the ground in this relief. According to Dictionary of Subjects and Symbols in Art, there is a popular theme of “Madonna of Humility” which its essential figure is that the Virgin is seated on the ground. The dictionary also states that artists set Virgin Mary on the ground to convey a medieval theology,

Another difference is the elaborate design on the Arch of Constantine while the Arch in Saint Louis is modern and clean. The sides were straight with no designs on them and

Fig. 1 captures the very moment that the archangel Gabriel comes down from the heavenly realm to earth to announce to Mary that she will conceive the Christ-child and he shall be called Jesus. The gold of his crown is representative of the “celestial realm that he has left to deliver this message” (Kleiner, 2010:387). The announcement is depicted very much in the moment as the words are quite literally illustrated with the text "Ava gratia plena Dominus tecum" (Van Dijk, 1999:420), which leave his mouth from left to right as if they were encapsulated in a speech bubble. The phrase is in fact inscribed in Latin and reads as "Hail, Mary, full of grace, blessed art thou among women” (Van Dijk, 1999:420). The draping cloth around Gabriel’s gold-infused light blue robe whips around the angel as if he had just land and his wings, which are still erect, depict an effortless grace of divine delicacy in the way that Martini executed them. Making use of undulating, long curved linear lines, they are almost liquid-like in their fluidity. The angel is painted holding a branch of olive leaves in his left hand. This is a symbol of the Christ-head and his coming to earth as the “Prince of Peace” (Emmerson, 2006:456), and also makes a reference to the traditional biblical story of Noah, the ark and the dove returning with an olive branch as a promise of the covenant of peace made by God with man (Genesis 8:11, English Standard Version)

John the Baptist is also allowed to stand near the holy mother and child, and an angel is present. Because of this, the viewer contends with a literal story rather than a simple image as in “Madonna Enthroned”. Also in Puligo’s image, where the central figures are larger and better seen, there are religious symbols used. The same might be true in Giotto’s work but the details are harder to distinguish.

Upon the stained-glass windows, an angel and a woman are facing each other as if they are talking. The woman’s arms are wrapped around her waist, and both figures are wearing gold and emerald green. Amplifying these colors, bright red and blue glass surrounds them. These images illustrate Gabriel announcing the conception of Jesus to the Virgin Mary. The Annunciation suggests Mariana’s longing to be pregnant.

Upon the entrance, the Imperial Gate was the solo main entrance to the church building and was reserved for the emperor himself. Moreover, the Byzantine mosaic located above the portal dates to the late 9th or early 10th century and portrays the Christ and Emperor Leo VI. The mosaic of the Virgin Mary is positioned above the southwestern entrance and dates back to the 944. The mosaic shows the Virgin Mary sitting on a backless throne with both her feet resting on a pedestal with the child Christ on her lap sitting. The Emperor Constantine is standing to her left side presenting her with a model of the city while on the other hand, the Emperor Justinian I is on her right offering her a model of the Hagia

The sculptures and paint show details how society viewed and interpreted women body, sexuality, and maternity. In addition, revealed that these women were protected from threats around them with ornaments. Civilizations since early times, believed that we were in permanent threat from forces we do not see or cannot explain and because of it, we protected ourselves with artificial elements in a form of jewelry, crowns or caps. This idea has been continue from one generation to the next to the point that in modern societies some of us still use this type of protection in our bodies (e.g., small cross, divine images, tattoos, etc.).These pieces of art also indicate that humans believed in gods with superpowers and they are looking over us constantly. Humanity also believes in dark forces or demons trying to makes us do things that would upset the good gods. Some of the differences between these sculptures and paint are the material in which each one of them were created. The first figure, the Woman of Willendorf was carved in limestone, the second piece, the portrait of Queen Tiye was carved in wood and the last piece, the Virgin and Child Icon was created of tempera on a wood. You can also notice how the details on their faces and bodies changes throughout the time and years. The woman of Willendorf figurine offers details of a voluptuous nude women’s body but there is not face, or feet. Queen Tiye statue shows the face of a woman in detail closed to the gods but without any body parts and lastly The Virgin and Child Icon, is an expression of divinity of the views, reflections and beliefs from the gospel. Because communities started to innovate on the art of carving and painting, populations began to discover and/or create art with the objective of expressing different purposes of our daily lives, such as the beauty of a woman’s body, or to commemorate an ancient

While constructing both of these cathedrals there were sculptures created that represented narratives of theology and mysticism. Both were created for a place of worship that’s why sculptures and paintings of religious images were added. This showed a great respect for the belief in Christ and the surrounding believers.