Universal Sacred Space by: Frank Lloyd Wright Group

Spirituality and Religion have always been integral and vital aspects of humanity as a whole. Throughout history to the present, several themes and characteristics are seen incorporated into places of worship that our group discussed and researched when writing about their chosen sacred space. We took this knowledge when thinking about a Universal Sacred Space and first discussed if it were even possible to design a sacred space in which all religions could worship. We all agreed that while there are many commonalities between religions, we doubted that any one sacred space could accommodate all of them because such specific symbolism and beliefs exist within religions. So we set about discussing what characteristics we could use to design a meaningful place for someone to worship and strived to create a Universal Sacred Space.
The most basic need for a sacred place is shelter for the congregation. Like almost all religions, our group wanted to incorporate symbolism into the sacred space and took the basic symbolism seen in many Eastern Religions regarding the circle and square. We thought it would be interesting and unique to have our sacred space be on an island where another religious characteristic comes into play: the concept of the journey is utilized to get to the sacred space through the use of a ceremonial boat. Our group felt that by making our sacred space less accessible, it also showed a level of commitment the worshipper would have to feel and thus, would honor the sacred space even more. Having the sacred space surrounded by water also was symbolic to our space as water is another common theme in many religions because it represents purity and regeneration.
Once on the island, the worshipper would find a complex consisting of alternating circle and square shapes. The circle represents the infinite, spiritual world whereas the square represents the limitations imposed by the physical world. Our group planned for the outer courtyard wall to be circular shaped to symbolize that the worshipper is coming into a spiritual place. Within the courtyard walls there will be ornate square shaped gardens surrounding the actual circular building in the center. By alternating the circles and squares within our design, it hopefully conveys that the spiritual and physical worlds are intertwined with one another.
The gardens are a beautiful way to incorporate nature into our sacred space and can contain sacred objects, such as ceremonial rugs used for kneeling in prayer and fountains with running water to once again represent purity and regeneration. Inside the center, circular building, sacred objects, such as scrolls with scriptures and teachings can be viewed and used during worship.
Although our group feels that because of the strict dogma of some religions, not all will want to worship in our sacred space. However, we have strived to create a space that utilizes the basic characteristics that are needed in worship and hopefully many worshippers could potentially have a spiritual and meaningful experience in our Universal Sacred Space.

The Great Pyramid by: Shabaz Khimani

General description:
The Great Pyramids in Egypt are considered to be the seventh wonder of the world, which are located near the Giza. The pyramids are the world’s largest pyramid structure in the world. It is built out of 2.3 million sand colored stones, which pile up to reach the great heights of 450 feet high. This massive structure has an incredible large base which concludes to be 756 wide from one corner of the pyramid to another. This great structure was built in the range of 4,200 years and 4,700 years ago, when the Egyptian empire ruled most of the continent of Asia.

Architectural Design:
The tools used to create the pyramids, were very small, and not every inventive compared to our time. But the precision of the countless of 1000’s of salves who were involved in building the pyramids was hard to believe. According to http://www.unmuseum.org/kpyramid.htm there was only around an 8 inch difference between the 4 sides of the pyramids. The pyramids involved seven main components; the King’s chamber, Queen’s chamber, Greaves shaft, ascending passages, descending passages, the Grand gallery, and the Vents. The Great pyramids have been used by many teachers of mathematics and science to show the great balance used by the Egyptian architects The Golden Ratio was created by the design and the intense geometry used to create this massive structure. The great design of the pyramids has allowed the structure to have lasted the wear and tear of the powerful grainy winds of the Egyptian desert, for over 4,500 years.

Harmony with Nature:
The great pyramids have a special quality, of camouflage, with the 2,300,000 stones used to create the pyramids, composed of fragments of the signature yellow sands of the Egyptian deserts. With the pyramids being made up of the same material as its surrounding, the instant effects to the environment has been minimized. The pyramids, being considered as the seventh wonder of the world, not for only the great geometry and design of the pyramids, but they also because the pyramids bring a majestic ambiance

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Symbolism and Sacred Objects:
Many people believed that the great pyramids were created to be a tomb for the great pharaoh, but that would be the wrong case. According to http://www.eridu.co.uk/Author/egypt/pyramid.html , “According to Egyptologists, the true pyramid (i.e. the smooth-sided pyramid) was a solar symbol, its shape signifying the rays of the Sun falling to the earth. In keeping with this theory, the pyramid’s capstone, benbenet, is held to have been a solar icon or ‘Sun-stone’.” It was also considered to be a place where the pharaohs were believed to have been able to communicate with the Gods. This brings us to the last category.

How it is used by Worshippers:
‘Pyramid of Secrets’ was believed to be a place the high royalty was able to communicate with the ideal gods. With the shape of the pyramids, looked as a place where the earth could connect with the sky and the sun. This illusion helped strengthen the believe of the pathway to the gods went through the Great Pyramids.

Sources:
http://www.unmuseum.org/kpyramid2.htm
http://www.dartmouth.edu/~matc/math5.geometry/unit2/unit2.html
http://www.eridu.co.uk/Author/egypt/pyramid.html

The Dome of Rock by: Justin Lander

General Description

Dome of the Rock, located in Jerusalem, is located in the area of the second holiest place for Muslims as well as arguably the most sacred location in Judaism. It was built by Yazid Ibn Salam from Jerusalem and Raja Ibn Haywah from Baysan sometime between the years 685 and 691 CE, and commissioned by the Umayyid Caliph Abd al-Malik ibn Murwan. Prior to the creation of the Dome of the Rock, the location was home to what followers of Judaism refer to as the “Temple Mount” and Muslims refer to as the “Noble Sanctuary.” It is important to know that that there are three masjids (places for Muslims to pray) in the sacred area where Dome of the Rock is located and the area that houses all three is believed to be sacred. Originally, the Temple Mount was expanded, and then destroyed by the invasion of the Romans in 70 CE, only to be conquered by Muslims during the Islamic invasion of the Byzantine Empire in 637 CE.

Architectural Design

The Dome of the Rock is most identifiable by its golden dome, separating it from the nearby Al-Aqsa Masjid, which is often mistaken for the Dome of the Rock. The dome is covered with 80 kilograms of real gold that was donated by King Hussein of Jordan. Starting with the dome itself, it has been noted by A.C. Creswell in his book Origin of the Plan of the Dome of the Rock that those who built the structure made use of the measurements of the Church of the Holy Sepulchre, which is also located in Jerusalem. The dome’s diameter measures 20 meters and 20 centimeters and its height is 20 meters and 48 centimeters. The dome rests on an elevated drum which contains 16 piers and columns, and attaches to a larger octagonal arcade that consists of 24 piers and columns. The shrine gets its name from the rock surface that is housed by the large arcade.

Symbolism and Sacred Objects

Contrary to popular belief, the Dome of the Rock is not the site in which the Prophet Muhammad made his voyage to heaven. The Quran states that the Prophet began his voyage to heaven from the near-by Al-Aqsa masjid. Inside the main arcade of the Dome of the Rock there is an uneven rock surface which is known by the Jews as the “Rock of Moriah” or the “Foundation Stone”, located at the center of the entire sacred area. The exterior is covered in colorful mosaics along with many scriptures from the Quran. Many of these scriptures from the Quran tell the story of the Prophet Muhammad’s voyage to heaven. Others have been selected to express Islam’s commitment to absolute monotheism. Some of these scriptures have also been chosen to show the world that the Quran also speaks at great lengths about the life of Jesus, son of Mary, and that Muslims not only believe that Jesus was a Prophet of God but also share with Christians the belief that Jesus will once again return to Earth.
The entire area is significant not only to Muslims and Jews, but also to Christians. The near-by Al-Aqsa masjid is believed by some Christians to be the exact location of the former Temple of Solomon. Some of these Christians believe that Jesus will return to Earth only after the Temple of Solomon is rebuilt over the current Al-Aqsa masjid.

How it is used by Worshippers

Muslims can pray at the Dome of the Rock, and some do. However, prayer in a congregation is not held at Dome of the Rock. Prayer led by an Imam (religious leader) is held at the near-by Al-Aqsa masjid. The Dome of the Rock is open for visitors during certain parts of the day, except Fridays, Saturdays, and Muslim holidays.

Sources:

Origin of the Plan of the Dome of the Rock. by Sir K.A.C. Creswell, Published in 1924, British School of Archaeology in Jerusalem. Supplementary papers., 2
The Meaning of the Umayyad Dome of the Rock, Nasser Rabbat, Muqarnas, Vol. 6, (1989), pp. 12-21
http://www.islamonline.net/english/In_Depth/Al-Israa_Al-Miraj/articles/09/article11.shtml
Islamic Architecture: form, function, and meaning. by Robert Hillenbrand, Published 1994, Columbia University Press

Shinto Shrine by: Shama Lakhani

General Description:

Shinto Shrines are places of worship that house the Shinto gods called kami. The shrine is similar to a safe haven where the kami are protected. These shrines are visited by people when they wish to pray for fortunes for their future or when they want to pay their respects to the Shinto gods. People also visit these shrines on special occasions and sometimes have ceremonies there.

Architectural Design:

Today, only a few shrines are considered to be built in a completely Japanese style. The Shinto Shrine’s general structure is in Buddhist origin. Nagere-zukuri and Tisha-zurkuri are two styles the foundation of the shrines is made in. There are various structures to the Shinto Shrine and each part has a different purpose. The honden is the kami sanctuary. The heiden is the part where prayers and offers are presented. The main hall, honden, and the offering hall, heiden, are sometimes combined or separated in two buildings depending on the structure of the shrine. The torii is the entrance to the shrine. Most of these entrances are made of wood and usually painted orange and black. Komainu are guardian dogs that are placed at the entrance of the shrine. The purification trough is a fountain found near the entrance. The water in this fountain is used for purification.

Harmony with Nature:

“The Japanese have always felt in awe of nature, offering prayers to divinities and expressing gratitude through festivals at shrines.” Japanese culture has always valued nature; therefore, these Shinto Shrines display a great amount of nature. In Japan from about 500 BC to 300 AD, the Japanese felt the presence of spirits in nature. The Japanese believed that parts of nature and sometimes animals were thought to be charged with spiritual power. Village council sessions were in quiet spots in the forest, mountains, and other nature areas.

Symbolism and Sacred Objects:

The Shinto Shrine symbolizes Japanese culture and Buddhist religious and spiritual beliefs. Most sacred objects of worship to the Shinto gods are placed in the innermost chamber. These objects are not visible to anybody. People visiting the shrine leave wooden plates there which they write their desires on. This sacred wooden plate is known as Ema. Omikuji, found at several shrines, are slips of paper that tell various fortunes and predictions. When the paper slip is tied around a tree branch, it symbolizes good fortune. A big tree, yorishiro, can be found in many shrines, with a shimenawa, a sacred rope, around it. The Yorishiro is now an object of worship. The shimenawa symbolizes the boundary to something sacred.

How the shrine is used by Worshippers:

When shrine visitors first come for worship to the shrine, they must go to the chozuya and wash their hands and mouth. The visitor then goes under a gateway, which is the sacred space where spirituality is found. The visitor bows at the entrance (torii) to show his or her respects to the kami. As mentioned above, a visitor of the shrine can tie the Omikuji around a tree in hopes of good fortune. This tree, yorishiro, is also a place of worship. The shrines are also used by worshippers as places to hold ceremonies and celebrate special occasions.


Sources:

"Google Images." Shinto Shrine. Google, 2009. Web. .

Nakano, Hiroko. "Quintessential Kyoto — The Shinto Shrine." International Edition (2004): n. pag. Web. 15 Nov 2009. .

"Shinto Shrine." Wikipedia. Wikimedia Foundation, Web. .

"Shinto Shrines." Japan Guide. 1996. Japan-Guide, Web. 15 Nov 2009. .

Saint Catherine Monastery Mount Sinai by: Carolyn D. Lathan

General Description

Saint Catherine’s Monastery lies on the Sinai Peninsula, at the foot of Mount Sinai. It is also known as The Monastery of Transfiguration and it has been called the oldest working Christian monastery and the smallest diocese in the world. St. Catherine’s Monastery was constructed by order of the Emperor Justinian between 527 and 565 AD. St. Catherine’s body was allegedly carried away by angels and found 500 years later at the top of the peak that now bears her name. Emperor Justinian built the monastery to protect the monks in the region and to honor what is said to be the site of the Burning Bush. The monastery is also dedicated to Moses and Elias, both holy prophets who came to the mountain to speak with Christ. It has now been designated an UNESCO world heritage site.

Architectural Design

Mount Saint Catherine is situated at an altitude of 4854 feet in a very deep and narrow rocky valley. It is at the highest point in the Sinai Peninsula, standing 2,637 meters in height. The walls are made of granite and they measure 8 to 35 meters tall. The inside is equally impressive with its narrow passages and steep staircases leading to different levels on each floor.

Harmony with Nature

Saint Catherine’s Monastery is in a located in the desert and a region of the wilderness made up of granite rock and rugged mountains. Gardens and beautiful cypress trees surrounds it.

Symbolism and Sacred Objects

She was severely tortured for her Christian faith and eventually put to death by Emperor Maximus. She tried to convert the Emperor from Paganism to Christianity. He decided to execute her. He had blades attached to four wooden wheels, which were set on 2 axes rotating in opposite directions. She was strapped to it, but was not harmed. The Emperor became angry and decided to have her beheaded. The church of St. Catherine in Alexandria stands on the spot where she was martyred. Inside the church is a marble block to which she was strapped. It is said that her body was carried away by angels and placed on the top of a peak that now bears her name. Another Sacred Object is The Burning Bush; this bush is where God revealed himself to Moses. God manifested himself in visible form; this is significance to all Christian in the world. It is sacred to three major world religions - Judaism, Christianity, and Islam. Saint Catherine’s has been a center of Christian worship and thought for over 1600 years, containing one of the worlds most ancient and important libraries. Its 2000 manuscripts in Greek, 700 in Arabic, 300 in Syriac, 100 in Georgian and Armenian, 40 in Slavonic and 1 Latin recall sixteen centuries of Christianity.


How is it used by Worshippers?

The monks hold their public worship at the Chapel of the Burning Bush every Saturday. Anyone entering must remove their shoes as it’s written in the bible: “put off thy shoes from off thy feet for the place whereon thou standst is holy ground…” (Exodus 3:5) Pilgrims have traveled there for thousands of years to worship. It takes about 3 hours to climb to the top of the peek following the Path of Moses. There are nearly 4000 steps, but this does not deter worshipper from all over the world. Christians has come here for over 2000 years to worship.



Sources

http://www.sinaimonastery.com/
http://www.touregypt.net/Catherines.htm
http://www.umich.edu/~kelseydb/Excavation/St_Catherine.html

Temple of Heaven by: Heather Kilgore

The Altar and Temple of Heaven :

The Temple of Heaven, originally known as the Temple of Heaven and Earth, is a beautiful and ornate group of buildings that comprise a Taoist worship site in Beijing, China. The temple was built between 1406- 1420 during the Ming Dynasty under the reign of Emperor Yong Le (Yong Le also oversaw the construction of the Forbidden City during this time as well). Later, under the rule of Emperor Jia Jing, the Temple became the Temple of Heaven as separate complexes were built for the earth, sun, and moon.
The Temple of Heaven is a stunning complex that houses smaller altars and buildings, as well as gardens that combine architecture, symbolism, and numerology. Two very common geometric shapes are seen throughout the Temple. Circles often comprise the shape of the buildings, while squares contain the buildings whether it is the actual foundation or the perimeter of the buildings. This is symbolic in that circles represent Taoist conception of Heaven, because circles are infinite and do not contain boundaries, as the square does, which represents Earth. And so, here we see how architecture is a crucial connection between the spiritual world and the physical world. Color choice was also chosen carefully, as most of the roofs of the temple structures are tiled in blue, which also represents heaven and the sky, while the interior of many of the buildings is tiled in yellow, which represents the emperor. There are three main structures in the Temple of Heaven: the Altar of Heaven, which is a circular three tiered structure that stones arranged in groups of three or nine. Both of these numbers are significant in Chinese numerology, and the number nine represents the Emperor. The second structure is the Echo Wall and Imperial Vault of Heaven, so named because a person can clearly hear a whisper spoken at the other end of the wall. The Imperial Vault of Heaven contained the Emperor’s ancestral tablets and resembled a smaller version of the third structure within the Temple, the Hall of Prayer for Good Harvests (pictured above). The Hall is a monumental three tiered wooden structure that sits atop a three tiered marble foundation. Here, once again, we see the number three as significant in the Chinese numerology. The hall is where the Emperor spent the majority of his time during the harvest ritual.
Historically, the Temple was used as a worship site for the Emperor to fast and commune with the gods to insure a good harvest. This began by a sacred bi-annual procession consisting of ministers, eunuchs, and the Emperor himself, who was regarded as the Son of the Harvest. It was forbidden for any common citizen to view the procession let alone enter the sacred Temple of Heaven complex. Inside, the Emperor would offer prayers and sacrifices to the gods in exchange for good fortune and harvest for the entire empire. Today, the Temple of Heaven has been transformed into a beautiful park where tourists and residents can come and enjoy the history and nature that is offered there. Musicians, Tai Chi masters, singers, kite flyers, dancers and game players are all part of current festivities taking place in the Temple today.


Sources:
http://www.kinabaloo.com/temple_of_heaven.html
http://www.cctv.com/lm/176/71/88864.html

Shama Lakhani's Museum Visit

I visited the Dallas Museum of Art and analyzed the painting Eastport, and Passamaquoddy Bay by Thomas Chambers. This painting is an illustration of the town of Eastport, Maine, and Passamaquoddy Bay, which divides the United States and Canada. In order to better understand the painting we must first know a little more about the artist. “Like many early American artists, Chambers drew inspiration from etchings, engravings and lithographs of American scenery,” and combined it with his passion of realism to produce his masterful works. Chambers makes use of linear perspective in Eastport, and Passamaquoddy Bay as we can see the implied banks of the river converge towards the bottom left of the piece, even though the view is somewhat hindered by the bushes near the front. There is also a vanishing point towards the middle right side as the mountains fade to blue in the background and the invisible parallel lines formed by the tops of the mountains also converge. Chambers uses thin lines but gives defined outlines to the objects in the foreground of the painting to convey the realism he aims to achieve. The convergence of the implied lines forming the river banks with the fading blue mountains on the right produce a left to right movement when viewing the painting. The invisible lines created by the mountain range and the river emphasize direction by moving the viewer from a narrow and cramped foreground to a vastly open background that seems to go on for miles. His use of lines to produce this movement down the river has an effect of taking the viewer on a short ride into the distance towards the open mountains under a clear blue sky with white fluffy clouds. In contrast the buildings in the distance are enveloped in white with much softer lines and less defined outlines. This progression from clearly outlined and defined to less defined and wispy shapes communicates the thought of starting a journey in firm reality and moving down a dreamy river towards the unknown. Carefree clouds, beautiful mountains, and blue water just take the viewer to a more serene place, away from the reality of the beginning. The shapes are two dimensional but the use of the sky as a light source allows Chambers to create shadows giving the foreground plenty of depth and realism. Again as we move from the foreground through the middle ground to the background we see the shadows being less emphasized and the colors tend to thereby be brighter with less depth in the shapes. The natural light creates true to life shadows and crisp reflections in the clear waters of the Passamaquoddy Bay. The light from the sky also plays on the hills as we see some sides shrouded in shadow while the others are bright green. The blue of the sky and the middle ground water acts as the dominant and unifying factor for the painting. The calming blue truly creates the serene sense in the scene that Chambers desires. The sky, the mountains, and the water all swirling into a single color but the different shades keep them completely separate from one another. Chambers was truly able to capture the “oneness” of nature by repeating the use of the color blue, but at the same time defines them as completely different entities by using its different shades. Eastport, and Passamaquoddy Bay is oil on canvas, which is the most appropriate medium to achieve the effect that Chambers intended to achieve. Oil paints produce bright and luminous colors, which are perfect for the scene of Passamaquoddy Bay. The bright colors also help balance the interplay of light and shadow in the piece and can capture the vibrant array of colors in nature as they are easily mixed on the canvas. There is quite a bit of white that gets mixed in the background and to produce the soft progression the oil paints’ quality to mix helped Chambers capture the exact effect. Also, since oil pants don’t dry too quickly they would allow the painter to work on a piece over several weeks without fear of drying, but that is a double edged sword as slow drying can also hinder progress onto the next phase of the piece. All in all, the soothing scene of Eastport and Passamaquoddy Bay is a work of art to truly experience. It takes the viewer on a journey from a humble shoreline to a misty and unknown beyond with other sailboats to dispel the loneliness and endless rolling hills under a blue sky with fluffy white clouds.

Shabaz Khimani's Museum Visit

I visited the Arlington Museum of Arts, and encountered great pieces of art that were created by artist in local Arlington. There were many captivating pieces there, but one caught my eye, “Changing World” by, Oregie Navero. The vibrant colors was the first thing that blew me away, the way the Artist used a great mixture of warm and cold colors to create a illusion of a changing world. One the part of this painting that I fell in love with is the use of lines to create a pleasant flow in the painting. The artist does a great job of using the characters eyes to show a vertical upward movement, as if the character is staring out to the tops of large skyscrapers. I believe this brings upon a meaning of the painting. I used the word skyscrapers instead of buildings because the artist once again uses lines to emphasize the heights of the skyscrapers surrounding the character. The winds like lines also help bring on a perception of tall standing buildings. I also liked the way the artist used the checkered box illusion to make the skyscraper seem even taller. The checkered boxes also create a subtle rhythm throughout the painting, which seems to really bring the painting together. The face on the character seems to reflect the idea to tall skyscrapers, as she has a worried / concerned facial expression glowing out of the dark background placed behind her. It seemed like the artist was trying to show the character coming out of a dark place into a new colorful, but overwhelming world. I believe the dark space behind the character represents a form of hiding or a cloud of the knowing. This is where the title comes in. I believe that the artist was trying to show the character’s first view of the “new world” as a little kid would when first leaving the home and entering the large city. This is shown with the straight clear eyes and the relaxed facial muscles of the character, and her tense shoulders. In the painting, the artist sticks a pair of lips on one of the skyscrapers. These lips, to me, seemed to have been place there at random, and after trying to understand the placement of these lips, I was unable to understand the meaning and the purpose of this shape. The artist seems to try to use all the space he can in this painting. The only place where there is a break in the action of intensive colors is where there is break between the skyscrapers. Here the gray sky seems to still show as a strong white sky coming from behind the skyscrapers. I believe is gives the viewer’s eyes a quick break as the colors seem to get brighter as closer to the top your eyes go. This painting is asymmetrically balanced, as there is more action happening near the bottom left corner, and the changing of the colors, from the dark and black color to the lighter and livelier colors towards the top. The last thing that I liked was the way the artist used two different styles of painting. On the character, the artist used a choppier, almost blot like style. I believe that helped show the expression on her face. Then the rest of the painting was done in a smoother and wind like style which I believe helped emphasis the heights of the skyscrapers. Overall, I believe the artist did a great job on including many different meanings and styles to express on single thought of a,”Changing World”.

Carolyn Lathan's Museum Visit

I visited the Arlington Museum of Art and after walking through the gallery and viewing all the paintings; I focused on and selected a painting by Carol A. Simmons called “Hope”. Hope, mosaic # 6, is from her Abstract Collection and was one of my favorite paintings in the gallery. Carol A. Simmons is a local artist who lives in the area. She uses several mediums for painting, but for her Abstract selection, she used acrylics. Acrylic is fast -drying and when diluted with water it becomes water-resistant as it dries. I would guess that this painting looks as it did when she originally painted it. It appeared to be vivid in color and not dull at all. I’m not sure how long it has been displayed in the museum, but it really looked well preserved. The artist used curved lines to outline the females face, head, and shoulders. Horizontal and vertical lines were used as well to put emphasis on the background of the painting. As far as shape, the lines and dimensions in her face shows to be strong and proud. The light used in the painting, in my opinion is implied through an artificial source. The shadows and lighting created in this painting are done with the use of color.
The colors Ms. Simmons used in the foreground were primarily black and turquoise with yellow, brown, and orange to accent specific features of the face. In the background, the artist used warm colors such as, rust, green, and light and dark shades of orange. The actual texture in this painting is smooth, but the implied texture is rough like a brick wall. I imagine the female is in this painting is focusing on something beautiful or comforting. She has this smile that is mesmerizing and whatever she is focusing on is definitely bringing her peace and joy. The background is of a brick wall but the colors Ms. Simmons used in the foreground of the painting make you focus on the lady and not the dreary old brick wall in the background. The colors she used really accent each other and I don’t think you would find them on the same color wheel. The repetitious element used in the painting is the use of a mosaic pattern throughout the painting. Mosaic is an art form, which involves fitting small pieces of rock, shell, tile, or glass together to create a pattern, which may be abstract or representational. I also think the mosaic pattern is the focal point of the painting. It brings a certain quality to the painting that is mesmerizing and draws the viewer’s eyes to the outline and detailed features of the females face. Because Ms. Simmons used acrylic, she had to be very careful with her strokes because acrylic is fast-drying and not forgiving at all. It is very durable, so the painting should last forever. Once it dries, it becomes water resistance and this leaves little room for error. The mosaic patterns make the painting appear shiny and not flat. I think this is a beautiful painting that was painting with meticulous hands.

Heather Kilgore's Museum Visit

While attending the Kimbell Art Museum, located in Ft. Worth, TX in the Cultural District, I was overwhelmed by the culture and beauty around me. I walked through the several galleries taking in all the paintings and sculptures, while trying to apply all of my newly acquired art knowledge I’ve attained this semester. After walking through all the galleries and viewing great masterpieces, including Michelangelo’s first painting, The Torment of Saint Anthony, I chose to focus of French painter Nicolas Poussin’s painting Venus and Adonis, which was painted in 1628.
The painting is based off the mythological story of Venus and Adonis, from which have inspired numerous paintings, sculptures, and poems over the centuries. This is just Nicolas Poussin’s interpretation.
What first attracted my eye to the painting were the bright colors that contrasted with strong shadows. Both the upper right-hand and left-hand corners of the painting are in shadow, which form a triangular shape within the center of the painting that is emphasized even more by the triangular shape of Venus’ raised leg. Venus was the Roman goddess of love, beauty, and sexuality, so it is fitting that the curves of her nude body are the major focus of the painting. A sense of asymmetrical balance is also established as each of the figures is grouped into pairs; Adonis and Venus, the cherubs, and even the doves and swans, which forms harmony to the viewer’s eye. Within these groupings, more triangular shapes can be seen within the two cherubs and the dog, creating an inverted triangle, the two cherubs on top of the gold chariot form a long sideways triangle with the figures in the dark clouds, and Venus and the two cherubs below her body to create the final triangle. In this way, Poussin is using implied lines to create geometric shapes which also add to the overall balance of the painting.
The lines used form a soft sensuality as the eye travels diagonally up Venus’ body towards Adonis. Perhaps Poussin chose to leave the whole of Adonis and Venus’ embrace and gaze of Adonis in shadow to allude to the tragedy of their love, as Adonis is soon killed by the very wild animals Venus warned him against hunting, according to the myth. The edges of the lines are soft and well blended into their surroundings which also help create an overall romantic feeling within the painting.
The colors primarily used in this painting are rich and intense shades of red and gold, which compose the central triangular shape of the painting that is most in the light. Therefore, the artist uses analogous colors, as shades of red, orange and yellow are next to one another on the color wheel, and this creates a warm and regal feeling to the viewer. The artist makes these colors stand out even more by once again, contrasting them with varying shades of gray and dark gold used to create the shadow effect. I feel the painting is rich in objects, whether it is nature or figure, to completely fill the canvas and space within the painting.
Overall, I feel Poussin’s work is a beautiful interpretation and depiction of the story of Venus and Adonis and utilizes the formal elements of art very well.

Justin Lander's Museum Visit

On Saturday the 23rd of October, I visited the High Museum of Art in Atlanta, Georgia. I originally went to this museum for the Leonardo Di Vinci: Hand of the Genius exhibit but decided to take a look at the other exhibits as well. When viewing the other exhibits, one painting in particular caught my eye. The painting was called Alma Sewing by Francis Criss (1901-1973). After doing a little research I discovered that the artist was part of a cubist realism movement also known as “precisionism” that reached its height in popularity during the era between World War I and World War II. Many of these artists portray themes of industrialism as well as labor throughout their works.
Alma Sewing is an oil painting on canvas of an African American woman sewing on a sewing machine. I would describe this painting’s style as realism, however, the light bulb above the model features a self-portrait of the artist in a completely different setting. This seemed to be a very interesting combination of the two themes: both realism, captured in the portrayal of the model and her setting, and abstraction, shown by the artist’s self-portrait. The realism grabbed my attention while the abstraction kept me standing in front of the painting, asking myself what the artist was attempting to communicate by painting himself into the scene.
The artist’s layout of space directs the viewers gaze directly to a triangle created by the face of the woman down through her gaze toward the sewing machine, then back to her hands which guide the cloth through the machine. Through this triangle, the artist expresses to the viewer that the mind is directing the action and the hands are being used to manipulate a tool. It is also very important to call attention to the way in which Alma is presented in this painting.
First, the sweatshop scene is what might come to mind when thinking about a woman sewing, but Criss chooses instead to present Alma as a tailor of much higher standing than that of a textile worker. Alma, an African American tailor, is depicted in her room dressed cleanly and surrounded by her many tools of the trade. I was also surprised to learn that this painting was made around 1935. Alma is an African American woman and Criss chooses to paint her in a way that might have contradicted many people’s ideas of African Americans at that time. This was decades before the civil rights movement started, and in some parts of this country African Americans were still being lynched.
The color that stands out most to the viewer is the deep red that makes up Alma’s shirt. The same color red appears again on the far left side of the painting and adds some balance to an asymmetrical layout of the scene. Behind Alma is a blue curtain that sets the background as a contrast to her dark skin and brilliantly brings out her features.
Alma Sewing by Francis Criss was a brilliant combination of realism and abstraction. It called out for me to think about what the artist was trying to say by painting a skilled tailor with the artist’s self-portrait included. After a little research on the rest of Criss’ work, I came to the conclusion that Alma Sewing was by far the best painting of his career. I believe there was a strong possibility that the artist knew this as well and improvised himself into this painting in an attempt to immortalize himself.

Paragone Discussion: Painting vs. Sculpting

On Thursday, October 15, 2009, our group participated in a Renaissance style Paragone, in which we discussed the merits of painting vs. sculpting via the 21st Century as we all met in the virtual world instead of a grand coliseum as the great Leonardo da Vinci had done.
In doing so, our group came to some interesting conclusions about Leonardo’s Paragone. Leonardo began his discussion by claiming that painting and sculpting have no difference between them except how the artist executes the work; that the sculptor is more physical and the painter is more intellectual. Leonardo soon made it very clear that in his opinion, painting and the painter was far superior to sculpting and the sculptor.
Our group came to immediate agreement that Leonardo is very arrogant in delivering his argument. However, he delivered his message well and used language to “paint” strong imagery regarding his idea of a painter being very refined and almost regal, while a sculptor was a brute merely living in dirt. And so our group discussed if one art was really superior to the other, as Leonardo so strongly seemed to think. Based on our recent “Standing in the Shoes” assignment, all of us had recently tried either sculpting or painting and we came to the conclusion that the two arts really aren’t comparable merely because the artist must approach them completely differently. For example, and as Leonardo pointed out in his Paragone, if a sculptor “takes too much off” of his material, they aren’t able to simply add to it with paint and color as a painter can in an attempt to correct the mistake. Instead, they will have to completely start over, or deal with an art piece with imperfections. For those of us in the group who did the Michelangelo project: myself (Heather), Carolyn and Shabaz, we all faced this issue when trying to “sculpt” our bars of soap and had to start over a few times. In that sense, we all thought that sculpting was more difficult than painting and just required more planning in general. However, as our painters Shama and Justin pointed out, with painting there is more room for mistakes to occur, so more creative flow can be experienced. So in the end, our group agreed that the thought processes between the two arts that the artist must take is completely different. And as our group member, Justin, pointed out, he thinks architecture is really the most influential art because all cultures need a form of shelter, and therefore, the style and function of their buildings says a lot about a certain society. How fitting for the Frank Lloyd Wright group!
When concluding our discussion, each group member quickly stated their opinion on whether or not a Paragone was useful. We were not able to reach a consensus on this issue, as some of us thought yes, and some of us thought no. I personally said that paragones were useful just because they got an individual thinking and discussing topics they would not normally think and talk about. In the end, we feel that our group’s own personal Renaissance Paragone was quite a success.

Standing in the shoes of Michelangelo by: Shabaz Khimani

I attempted to step into the shoes of Michelangelo, with the key word being “attempted”. My experience in trying to carve a simple bar of soap into a whale was eye opening. From my utter and complete failure to create a carving of a simple whale, I gained a new found appreciation for the great carving of Michelangelo. I used the subtractive method try to create the impression of a whale. This technique requires you to continuously peck at the entire mass of the soap (marble) until the body comes to shape. I could not decide on how to start to cut my soap up. I started by getting a sharp pencil and traced a cut out of a whale. I use the pencil to carve a half of a centimeter deep cut into the soap. With the tracing in place, I use a spreading knife to cut and try to round the entire body mass. This type of project took much time to create, as patience is a main tool to create great sculptures. Michelangelo must have had the temperance of a 1000 armies to be able to sculpt life-size sculptures. In conclusion, I was able to create a unique whale, and experienced the feelings of being in the shoes of Michelangelo Buonarroti.

Standing in the shoes by: Justin Lander

Atmospheric/areal perspective is shown by the buildings near thevanishing point that are hardly visible. The trash can that is locatedin the right side of the street in the foreground and in the distance iswhat shows scale. The vanish point is at the continuation of the linesthat represent the street.

Standing in the Shoes of Michelangelo by: Heather Kilgore

Before: Bar of Soap representing a block of marble.

After: A canoe and oars carved using the Subtractive Method.

I chose to experience a glimpse into the great Michelangelo Buonarroti’s world by “sculpting” a bar of soap into a canoe and oars using the subtractive method. This technique whittles away an original mass (in this case, a bar of soap) to create a shape, rather than molding the shape, or adding onto the shape. When I first sat down to “carve” my “marble,” I was very perplexed as to how to begin and what to make. I set about using a large kitchen knife, and then realized that a smaller knife offered a lot more control and allowed for greater details to be created. Luckily, I prepared for this and bought several bars of soap. I started over with a smaller knife and immediately had better results. I used the knife to “shave away” thin strips on the soap in order to achieve the desired shape, much like whittlers do with a piece of wood. This was definitely an interesting experience, and showcases the extreme talent/patience Michelangelo possessed in creating masterpieces out of a solid block of stone. I have much respect for his ability and what he was able to do. In the meantime, I think I’ll stick to using soap to clean things rather than attempting to create art.

Standing in the shoes of Michelangelo by: Carolyn D. Lathan

I attempted to stand in the shoes of Michelangelo and what big shoes to fill. I have so much respect for this talented sculptor. I attempted to sculpt a cross out of soap. I used a bar of Ivory soap, a small flat head screwdriver, and hammer. First, I carved an outline of a cross in the soap and then I used the flat head screwdriver to chisel away at the soap until I could see the shape of a cross. The soap was very fragile, so I was very careful not to crush the soap during the chisel process. Once the soap took shape of a cross, I took my time to make sure the edges were even, by shaving the edges until they were rounded at every angle. I must say this was not easy for me, but I enjoyed every minute of it. It was very soothing and relaxing. I was so caught up in the process that I forgot about the stress in my life.

Candle in the Night by Shama Lakhani

This drawing is named Candle in the Night, and it depicts someone looking out of a window trying to illuminate the night by a candle inside. The foreground and the background are separated by the window in the center of the drawing, which produces the distinction between the inside and outside environment. The size of the mountains in the background in relation to the candle also serves to punctuate the distinction between the foreground and the background. The crescent moon in the far left serves as the vanishing point with its blue hue and hazy purple creating the effect of it being very distant. The crescent moon is directly left of the candle which produces the movement needed for the viewer to look from one end to the other into the vanishing distance. To further enhance the perspective through scale, the grass is shown as tall and more defined up against the window; whereas, the grass in the distant is more of a blur rippling in the wind.

Mr. Frank Lloyd Wright and His Life

“Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.”
- Frank Lloyd Wright

Frank Lloyd Wright is considered one of America’s greatest architects with a vibrant career spanning more than 70 years. He is responsible for creating such landmarks as the Guggenheim Museum and for pioneering such concepts as organic architecture and “prairie house” design.
Frank Lloyd Wright was born on June 8, 1867 in Richland Center, Wisconsin to parents William Carey Wright and Anna Lloyd Jones. Both parents had a strong background in education, with William working as a music teacher, a lawyer, and a minister and his mother, Anna, a county school teacher. A passion for beauty and for beautiful things was instilled in young Frank early on with his mother declaring, “Her child will one day grow up and build beautiful buildings” and nurtured his curiosity with engravings of grand English cathedrals all around his nursery. Wright soon learned immense responsibility as his parents divorced when he was fourteen and he assumed financial responsibility for his mother and two sisters.
Wright dabbled in traditional acadamia, attending a Madison high school but there is no evidence he actually graduated and then in 1886, Wright attended the University of Wisconsin-Madison for two semesters before moving to work in Chicago 1887. There, Wright worked for the architectural firm, Jospeh Lyman Silsbee, and then joined Adler and Sylvan’s firm as an apprentice to Louis Sylvan. Wright continued to build a name for his self with the marriage to his first wife, Catherine Lee Tobin in 1889, who was a daughter of a wealthy and well known businessman and subsequently, his social standing increased. During this time, Wright began to also design homes on the side of his work for Sylvan, and once this was discovered, Wright was asked to leave the firm and instead opened his own in 1893.
Wright’s practice thrived on creative residential designs known as “Prairie Houses.” These homes were conducive in tying land together with the structure and exhibited extended low buildings with shallow, sloping roofs, clean sky lines, suppressed chimneys, overhangs and terraces, using unfinished materials. Here we can see the concept of organic architecture, a philosophy of architecture which promotes harmony between human habitation and the natural world. The Prairie House style is also considered the pioneer in the popular “open floor plans” that are seen in today’s homes and floor plans.
Wright’s career continued to flourish, but came to an abrupt halt as his personal life turned into scandal with his very public affair with a client’s wife. The two eloped to Europe in 1909, each leaving their respective spouses and children and that basically ended Wright’s ability to practice architecture in the United States. The romance fizzled and Wright remained in Europe for a year building his portfolio, known as the Wasmuth Portfolio, which helped establish Wright’s creditability in Europe. He returned to the United States in 1910, where his first wife, Catherine, finally granted Wright a divorce.
Wright resumed working and wed his second wife, Miriam Noel in 1923. However, due to Miriam’s morphine addiction, the marriage soon failed and they divorced in less than a year. Wasting no time, Wright met his third wife, Oglivanna Hinzenberg and they had a daughter together on December 2, 1925.
With Wright’s personal life stabilizing, he continued to work utilizing organic architecture and moved on from the Prairie House style to Usonian homes. These homes were much simpler in design and were based on clean, geometric shapes. Wright became very interested in community planning and intended these Usonian homes to be models for suburban development. This vision came true, and much of modern homes and developments reflect Wright’s stylistic concepts of open floor plans and simple geometric shapes. Wright’s most notable work is probably the Solomon R. Guggenheim Museum located in New York City and took Wright 16 years to complete (1943- 1959). It’s very unique design makes it a popular landmark located on Fifth Avenue.
Frank Lloyd Wright died April 9, 1959 at the age of 91. Throughout his life, he designed more than 400 built structures with 300 of them still remaining intact. Wright’s legacy and concepts have greatly effected modern architecture and he will continued to be look at as a mentor and an inspiration.

Frank Lloyd Wright: Three Artworks



1.) The Solomon R. Guggenheim Museum located in New York City, New York

The Guggenheim is one of Frank Lloyd Wright’s most recognizable designs. Extremely unique for it’s shape, which resembles the spirals of a seashell. Wright intended visitors to ride an elevator to the top floor and then descend down the spiral central ramp to view the artworks it houses. However, today, the opposite format is what visitors will find as they walk up the spiral ramp to view artworks. The Guggenheim took 16 years to complete and was opened in 1959, six months after Wright’s death. It was declared a landmark by the New York City Landmark Preservation Commission in 1990 and was listed on the National Register of Historic places in 2005. In October 2008, the Interior Secretary of the United States names the Guggenheim a National Historic Landmark in recognition of the museum’s significance within American history and culture.

2.) Fallingwater Home located in Bear Run, Pennsylvania

Fallingwater was built in 1937 in Pennsylvania and is the embodiment of Wright’s concept of organic architecture. The structure is built partially over a waterfall and the construction is a series of cantilevered balconies and terraces, using limestone for all vertical columns and concrete for the horizontal lines. The building utilizes natural elements and Wright’s love for clean, geometric shapes while embracing nature as part of the design of the structure standing among it.

3.) Gordon Home located in Silverton, Oregon

The Gordon House was designed in 1957 and wasn’t actually completed until 1963, four years after Wright’s death. The home is one of the last examples of the Usonian Home design movement Wright intended middle class clients to occupy. The Usonian Homes were usually small, single-story buildings without a garage or much storage. In fact, this is where the term “car port” came into use to describe the overhang that was left for a vehicle to park under. The homes were environmentally conscious with native materials, flat roofs and clean lines, and once again, exemplified Wright’s use of organic architecture.

This looks wonderful Shabaz...great job!!!

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