a rather human-like impulse
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18th August 2014
Definition of art
There has always been a rather human-like impulse to create; one that is seen to be universal. Art is seen by many as a means of communicating varying beliefs and expression of ideas regarding various human experiences. This is a practice that has been in existence since time immemorial, being passed down through the civilization stages and in every existing region across the globe (Kapferer, P.34, 2008). Art has also been seen to have an important role of providing insight into past and existing cultures; through which man can understand how other lives have been lived and what they could have valued.
One issue that has continuously been of much controversy is that of art’s definition. In fact, whether art can even be defined at all has been a matter considered to be significantly controversial in its own sense; others debating on the usefulness of its definition from a philosophical point of view. However, art is seen to have a conventionally accepted definition; one that tends to entail a conglomeration of ideas as espoused in the explanation given earlier. This paper seeks to discuss the opinion that art’s definition has shifted and changed over time and across cultures. In support of this view point, this paper gains insight on various other aspects that are directly in issue with the topic of discussion. .
When it comes to contemporary definition of art, there are two mainly used sorts. One of them is distinctively modern and conventionalist sort; which emphasizes its focus of art’s definition on its institutional features, and the manner in which art transforms or changes with time. This is the one that shows just how traditional arts seem to have been broken by modern works as well as the relational properties between different artworks which have a dependency on past art history and art genres. On the other hand, there is the contemporary definition which is less conventionalist and makes a much broader use of traditional aesthetic concepts and other traditional properties. These include the more art related properties and focuses on art’s trans-historical and pan-cultural attributes.
Throughout history, people of different cultures have been brought together by political ambitions, material desires and economic needs. Such cultural interrelations may at times be across great distances or communities of deep variation. Regardless of the fact that these endeavors may be cooperative or clash-related, the convergences brought about exchange of numerous knowledge and ideas (Grafton, P. 78, 2010). Taking the case of visual art for instance, it led to the rise of creative juxtapositions, innovative forms and hybrid styles; eventually having an impact on the interpretation of traditional symbols and signs. It is a rather apparent fact that art’s definition has had to change as time passes by. This is not only due to the fact that such time brings about several changes in what art means but also what has to be offered. What was previously a conservative form of exemplifying different attributes changed to be a major means of communicating ideas and views. Culture is also seen to be an issue so deeply entrenched in art as a whole that separating the two becomes almost impossible. With each production of a famous art work, a people’s culture becomes more exposed. This inevitably leads to the increased interrelation of cultural ideas between artworks, hence the change in how such cultures understand the definition of art.
A suitable example of art’s definition changes over time and across cultures is through the works of Michalangelo, during the Renaissance evolution. Renaissance evolution of art occurred in three phases: Early Renaissance, High Renaissance and Late Renaissance or Mannerism. Several transformations in art came about all throughout these periods. Primarily, this was because of the holding up from the rich Italian families, who had flourishing commercial ventures thereby patronized the majority of the artists. He precisely calculated his sculptures so as to get amazing creations. He often exaggerated where need be, for instance the sculpture of David, where he intentionally made the head and the hands oversized, but the image still remained fascinating to the eye.
His works were greatly adored and still are. He was able to bring out sculpturing at its best and seen as an art that be of great impact. . He used his art to greatly change the region during renaissance thus his celebration. In a time when Italy had no raw talented artists, no well-constructed buildings or any architectural work, he was able to bring an end to this together with the other renaissance architectures. Living in a time where life revolved around Christianity, such art as Michelangelo’s was highly discouraged and rebuked, as they considered it to be comparing one to God. The renaissance has proven to be the essential stage that brought about much change, not only in Italy and Europe but across the whole globe as a whole. The works of Michelangelo and the other renaissance architects led to the change of man’s ideologies, way of life and even skill ability. The Renaissance art by Michelangelo demonstrates an intellectual development kind, which happened all through those art golden years. According to Canniffe, works of Michelangelo have the capability and potential to make individuals discover themselves as well as lose themselves at the same moment.
Indeed art is one of the oldest forms of human expression, having traditional as well as modern views. Traditionally, art was more conservative and less expressive than it is today. Either way, it had strong underpinnings that made it one of the most appreciated undertakings in the society (Canniffe, P.56, 2008). Historically, China has been seen as a nation that has a rich cultural background. It is through this culture that the nation also managed to developed its forms of art; a suitable example being the martial arts that has traces its origin to the Xia Dynasty that existed over 4000 years ago. After the nation’s civil war, martial art becoming more spread into other cultures across the globe. Though the martial arts practitioners started off by only teaching their fellow Chinese on the skills, they soon expanded their borders and accommodated even more learners from different cultures. Through this form of art, persons from different cultures have been able to be taught and learn about the professed philosophical teachings of the martial arts. Various artists have used their artist skills to espouse different views and comments on politics of the society all through the centuries. One such work is that of Rowan Atkinson in ‘Black Adder,’ where the theoretical play is used in portraying the period of the French Revolution, the politics of the day and how those in power related to those at the ground level. Bran Granville was also able to showcase a number of his works in the late 19th century, where he largely incorporated and depicted feminist issues through his plays. Clifford Odets also made some comments on the social scene through his writings, offering strong views on the peoples’ right to proper wages.
Before the 20th century, much of what Europeans and Americans had heard about Africa was based on Africa Oral stories and accounts from the early visitors’ perspective. This is a notion that was carried even in the analysis and perception of the region’s art work. During the 19th century, the collected samples of Africa’s art works were considered as primitive and heathen-like. By the 2oth century however, growing interest of European artists –Such as Piccaso, in the region’s art led to a drastic change in perspective, with more Europeans and Americans beginning to appreciate it. Consequently, such art works led to the development Modern Art Movements such as Cubism and Abstract Expressionism. Today, there are set of artistic scholars who have majored on studying the art styles in contemporary Africa and what they could possibly imply. So far, much has been learnt about the African form of art, the way that they sculpture, the underlying reasons and specifics of the eventual creations.
In truth, historical accounts of art in general have given sought little insight and shed insufficient light on photography as a form of contemporary art. However, it has been extensively consolidated by commercial success ever since its conception (Kapferer, P.87, 2008). Having been a resultant creation of the fusing of science and art-through the incorporation of chemicals and light, photography has managed to influence the art sector to a large extent. This is mainly seen through its emergence as an aspect of another form of art, but gradually grew to become its own contemporary art form. After its conception in the 19th century, photography was mainly used to ease the painting process by taking images of the item to be drawn. Its uses continued to increase and by the 20th century, photography was no longer a facet of painting but its own form of artist work; where one would capture images of people or other items in meticulous artistic ways for exhibition and depiction of different portrayals.
Evidently, art has undergone much change since its emergence, and is yet to change even more. It is simply understood as an integral part of human, and through that, is bound to continuously change just as it is man’s nature. Art has to make room for each progress that man makes in the society-be it social, political or technological. The general understanding of art four centuries ago is not the same as today’s; and neither will today’s be the same as that of two centuries from now. This is to affirm the point that the definition or art does indeed change over time and across cultures.
Work Cited
Canniffe, Eamonn. The Politics of the Piazza: The History and Meaning of the Italian Square. Burlington: Ashgate, 2008. Print.
Grafton, Anthony T. The Classical Tradition. Cambridge Mass: Harvard University Press, 2010. Print.
Kapferer, Judith. The State and the Arts: Articulating Power and Subversion. New York: Berghahn Books, 2008. Print.
Moffett, Marian, Michael Fazio, and Lawrence Wodehouse. A World History of Architecture. London: King, 2003. Print.
