Storytelling in Different Cultures Essay

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storytelling in the cultures we studied in the past four weeks using the artworks below as examples of the Egyptian, Islamic, and Early Christian societies' modes for depicting stories. Begin with a brief analysis of each story that is being told, using your own words and making sure to point out the formal elements of the artwork (line, color, shape, and composition) that combine to tell the story.

Story telling and art go hand in many cultures around the world. The art that were created by the ancient Egyptians, early Muslims and Christians were designed in such a way to help relay to viewers a stories about what these cultures regarded as important. The works of art in these three unique cultures share several similarities; however each culture's unique iconography distinguishes the art from the other two and therefore reflects the storytelling requirements of each culture.

One of the iconic examples of art in ancient Egyptian culture is The Funerary Stele of Amenemhat, an 11"x15," c.2000 BCE piece painted on limestone that is currently housed in the Egyptian Museum, Cairo. The background of this work is in gray. Across the upper part of the Stele, sandwiched between 2 incised horizontal lines, are several engraved hieroglyphics that invite offerings (food) for the deceased for use in the afterlife (Math-af al-Mis-ri?., El-Shahawy & Atiya, 2005). Another piece of art referred to as Flight into Egypt, from the infancy of Christ window is a painting of baby Jesus and it is one of the most well preserved window-artworks that seeks to narrate to its audience the childhood of Jesus. The crisp, elegant depiction of the foliage, drapery, and faces-painted using vitreous enamel against vibrantly colored glass pieces that form the panel is nearly as clear today as it was when these windows were new (Art History Final Exam- Objects, n.d). Another piece of art is the Tile Mosaic Mihrab, c. 1354 CE, from the Madrasa Imami. In, Islam a lot of emphasis is put on God's divine revelation, the Quran, hence, locations that elegantly express or bring out the Divine word are highly regarded; within the Mihrab and in the vicinity, there are several Arabic scripts that really enhance its religious importance and define this art's status as one of the significant pieces of Islamic artworks. The tile mosaic also relays to its viewers a sort of creative richness via its artistic variety (Longhurst, 2013).

2. Next, compare and contrast the three artworks and the iconography used in each story and distinguish the connections that can be made, pointing out patterns you find.

In between Amenemhat, Hapy, Iyi and Antef (family members depicted in the painting) is a white altar (carrying enormous amounts of food) that is painted by black zigzagged lines. The artist, who made the Funerary Stele of Amenemhat, must have wanted to symbolize the significance of food offerings. This is because not only do the food offerings occupy the central position of the frame, but also the food is almost the similar in size with the individuals who are depicted in this piece of art. Stacked on top of this white altar is meat that is portrayed in pink and white with a basket carrying onions at the top almost reaching the top of the painting, just under the hieroglyphics. There are two tan jars under the altar (Math-af al-Mis-ri?., El-Shahawy & Atiya, 2005). .

Flight into Egypt has one controversial detail on it -- the virgin depicted in the work as trying to pick a date from palm tree that bent at the command of baby Jesus so that she could reach it. It is based on apocryphal Gospel that even though not included in the canonical Christian scriptures remained a popular theme for many 12th century artists (Art History Final Exam- Objects, n.d).

The Tile Mosaic Mihrab, c. 1354 CE, from the Madrasa Imami, is a combination of about three different art fields (architectural, decorative and sculptural). The Arabic script popularly known as the majestic Muhaqqaq script is composed of abstract and geometric floral motifs that decorate the space within and without the Mihrab. These scripts, essentially create a perfect synthesis between the spiritual and aesthetic exigencies of the Divine Word of Islam (Longhurst, 2013).

Part B

1. To conclude, summarize the use of storytelling in the cultures represented in the three artworks below.

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The Funerary Stele of Amenemhat, an 11"x15," c.2000 BCE piece painted on limestone that is currently housed in the Egyptian Museum, Cairo can be viewed on page 59 in the textbook.

This funerary stele painted on limestone was found in Thehan Necropolis at Assasit. It shows family members of the deceased in an intimate embrace. At the top of the painting between two lines are hieroglyphics with the expression prt kherw (an invocation of the food offerings from the family). The painting depicts a nobleman Amenemhet and his wife Iyi embracing their son Antef, who is painted sitting between them on a settle that is decorated using depictions of lion's paws. There is a basket under the settle from which a mirror emerges. The family's daughter-in-law, Hapy, stands next to an altar, on which enormous amounts of food, such as meat and vegetables have been piled. Two lumen of bread are also portrayed underneath the food. All the people in the painting are depicted wearing bracelets and usekh collars and the two women, Iyi and Hapy, are also wearing anklets. The women are wearing straight wigs, which were typical among noble women of the time, and tight dresses, with one strap that exposes their breasts. The nobleman, Amenemhat has an orderly beard and haircut. The men in the painting are depicted in a very creative and stylized way with their legs crossed. The colors used in painting the funerary stele are very rich and very employing different shades and tones. The Egyptian tradition of depicting women using creamy yellow and men using dark reddish brown is well exhibited in among the individuals in the painting (Math-af al-Mis-ri?., El-Shahawy & Atiya, 2005).

Flight into Egypt, from the Infancy of Christ Window, c. 1140-1144 CE. Painted glass. The Glencairn Museum, Pennsylvania. Located on page 264 in the textbook

This painting that was found in France on the window of the Abbey of Saint Dennis which is located near Paris. The painting depicts the legend of Jesus flight into Egypt, because of the revelation to Joseph in a dream about Herod's murderous plan as told in the bible in the Gospel of Matthew. The legend in pseudo-Matthew that is depicted in this panel tells of a part of the journey where Mary was tired and in need of food, this part is however not told in the Gospels (Glencairn Museum - Apocryphal Sources for the Nativity, n.d).

The Tile Mosaic Mihrab, c. 1354 CE, from the Madrasa Imami. Glazed and cut ceramic tiles. New York City Metropolitan Museum. Found on page 194 in the textbook.

The key element of the design of any mosque is the Mihrab, the part that indicates the direction to Mecca. It is the focal point of any prayer and its decoration is done elegantly with skill and devotion. This piece found in Isfahan is composed of a mosaic of small tiles that are combined in several floral and geometric patterns and Arabic inscriptions. The muhaqqaq script containing sura IX:14 -- 22 (chapters) from the Quran runs from the bottom right to left; a kufic script containing the sayings of the Prophet Muhammad borders each pointed arch of niche. A substantial part of the inscriptions were restored by potters in Isfahan in the mid 1920s (Heilbrunn Timeline of Art History, n.d).

2. After learning about the complexity and variety of Islamic decoration, as seen in Tile Mosaic Mihrab, from the Madrasa Imami, assess if you think that figurative representations are essential to communicating religious messages. Provide examples to support your analysis.

There is no better example of the convergence between art and religion that exists in the Islamic tradition than the Mihrab. The spiritual and artistic significances of the Mihrab depict the richness of Islam's traditions while signifying the universality and innate sense of unity that the Mihrab brings about throughout the Muslim world. The Mihrab as an artistic and architectural module is an embodiment of the spirituality and aesthetic gravity of any mosque. The Mihrabs' historical foundation is anchored on its functionality-to point to Mecca and show the kiblah wall. This small cove like prayer niche is located in the middle of the mosque's kiblah, serves to align all Muslims towards Mecca and the holy Kasbah to pray (Longhurst, 2013)......

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