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Humanities LibreTexts

9.1: INTRODUCTION

  • Page ID
    10164
  • Art has always been associated with power. At times in history, the individuals who made art were seen as having special powers. They could conceptualize shapes and forms and then bring them into being. They could create images and objects from dirt, ashes, and stone that looked like living creatures. These individuals were set apart they could transform, they could give life. And the images and objects they created held powers, as well. They were a means of communication with an unseen world, of exerting influence over the well-being and actions of humans. So both the artists and their art were considered to be magical in that they were out of the realm of everyday, common, and shared existence: they were su- per-natural and extraordinary.

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    The ancient Greeks believed the creativity artists possessed came to them from a muse, a personification of knowledge and the arts that inspired them to write, sculpt, and compose. The ancient Romans, who strongly believed in the family as the most basic and essential hub of societal organization, called its guiding spirit the genius, from the Latin verb meaning genui or “to bring into being or create.” The word genius came to be associated with the arts during the Renaissance, when it took on the meaning of inspiration and ingenuity visited upon the artist, often as a form of possession, setting the artist apart from, and at odds with, non-geniuses.

    In addition to the power of the artist, there is the power of the art itself to imitate or mimic life. Again, according to the ancient Greeks, art’s power resides in its ability to represent nature; the closer, more real, and more natural the representation, the closer the art work is to truth, beauty and power. Among other cultures, especially those that avoid representation, art is still a means of aesthetic expression with considerable power, but with abstracted forms. For example, in Islamic cultures the human figure and forms based on direct observation are not used in religious art and architecture as only God has the ability to create living things. Instead, elaborate ornamentation based on the written word and human, animal, and plant forms is used to decorate surfaces with intricate motifs, or patterns.

    The visual force of the image or object, whether representational or non-representational, has been used throughout the ages by those in power to give form to and communicate messages about themselves, their wishes or dictates, their accomplishments, and their very right to rule. Literacy has, until the recent past, in human history been a skill few had the means to develop, but leaders in secular and religious roles have fostered among their subjects and followers a visual literacy, the ability to “read” and understand images through a common “language” of subjects, symbols, and styles. Those who wish to use their art as a means of protest against an established power have traditionally used the same “vocabulary” to visually communicate their messages, as well. Especially in times of war and during periods of oppression, art has been used as a tool to protest, document, provide an alternative version, and communicate to others about people and events that become our historical record.