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Twelve votive figures, 2700 B.C.E., gypsum inlaid with shell and black limestone, Eshnunna (Modern Tell Asmar, Iraq)

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Votive Figures From the Square Temple at Eshnunna

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Votive Figures From the Square Temple at Eshnunna

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Ten male figures and two female figures, eight made of gypsum, two of limestone, and one of alabaster. All the pieces would have been painted as their respective owners. Eyes appeared as big focus and all of the figures are in a praying or offering position. These are not images of gods but rather mortals standing in perpetual worship of their god at the temple. It was an early form of faith and expression, and were used as stand-ins when the owner could not stay at, or make it to the temple to pray. Man wanted to be with his god at all times, and when that was not physically possible, he made in a way an offering to do so. These pieces can be seen as a permanent worship and intense loyalty to their beliefs. Forever their faces are looking upwards at their god. Forever their hands are praying to their God.

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Winged Victory of Samothrace, 190 B.C.E., marble, Island of Samothrace, Greece

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Piece shows Nike, goddess of victory, with wings and clothing. Her body appears to be moving forward with the fabric draping in such a way that it seems windy. Small terracotta pieces were created in likeness to Winged Victory. They were made before the statue broke, so they show her face and hands, what once was. The piece was made as a votive offering from the people of Rhodes as a commemoration of naval victory, symbolizing their wins from overseas. The location the piece was erected from had a small population, with a cult, that has very little information. The cult of the Great Gods was a mystery religion, having its people initiated in with some form of ritual, kept secret from everyone except the initiates. They kept their religion secret, only to a select few due to the sacredness of it all. The only thing known about this religion is the promise of naval safety adorned by the Gods to its people. They put their trust in their gods to protect them. They respected their Gods by keeping their rituals a secret; returning the protection back to the Gods, keeping them safe from those who do not truly believe.

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Running Horned Woman, 6,000–4,000 B.C.E., pigment on rock, Tassili n’Ajjer, Algeria

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A woman is depicted running to the right surrounded by smaller figures, also running. The piece contains a lot of contrast as the dark color pops from the stone wall. Details on skin in white could be showing scarification. This piece is believed to be used to keep various traditions alive, a way of recording. It also is believed to be some kind of goddess, of an agricultural religion. If the latter is true, this is showing a group praying to their God, or recording their God, possibly to give them a good harvest, or something of similar effect. Paintings at the time were used to protect important rituals, as written records did not exist. Having this god depicted shows the significance she had.

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Akhenaton, Nefertiti, and Three Daughters, 1353-1335 B.C.E., limestone (sunken relief), Telloi-Amarna, Middle Egypt

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Akhenaton, Nefertiti, and Three Daughters

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Akhenaton, Nefertiti, and Three Daughters

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King and Queen are depicted sitting, facing each other, holding their children. They are shown underneath the sun and its rays, representing Aten. King Akhenaton decided that Aten was the only god that could be worshiped while he was in power, and ended up destroying many things that did not correlate with his belief. The piece shows family intimacy, as well as support of belief. Akhenaton had such intense faith in his god Aten, that he went through the struggle of eradicating all other worship to any other religious figure, believing Aten was the one true God. He even went as far as to include Aten in his families portrait, because his god was just as, if not more important then family.

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Pantheon, 118-125 C.E., concrete with marble veneer, Rome, Italy

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Temple has 8 Corinthian columns in 2 rows with a pediment on top. An oculus can be found at the center of the dome, behind the facade. It is the only light source in the building. Fire destroyed this building twice, and its present building was created nearly a hundred years after the original creation. Originally a temple to Roman ancient Gods, now a Catholic church, dedicated to St. Mary and the Martyrs. Original pagan symbols were removed when the change occurred. Over the years pieces have been taken from the temple, losing pieces of its self for various other purposes. As the religion using it changed, so did the building itself. People are taking from their Gods, using them for other things. Taking a piece with them, knowing their god will protect them, and the materials they have used.

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Chartres Cathedral, 1145 C.E., reconstruction in 1194 C.E., limestone and stained glass, Chartres, France

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Depicted is the portals of the Chartres Cathedral. 3 entries doors to the Cathedral, which have carved figures creating colonettes, lintels, and archilolts. The pediment depicts Christ with angels and winged animals. The Cathedral is built in the shape of a cross with a basilica plan. The rebuilt sections are more Gothic, and high than the original parts. Man built many places for total devotion to their gods and this is one of them. Their God is depicted even on the entrances, possibly to show those walking in who this is a space for, and to pay respect to their religion.

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Great Mosque at Cordoba, (commisioned by) Abd al-Rahmanl, 785-786 C.E., stone masonry, Cordoba, Spain

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This religious center contains a hypostyle prayer hall, as well as a minaret. There is a repeated geometric pattern creating a sense of space with a focus on the mihrab. This mihrab points in the direction of prayer. The maqsura was in front of the mihrab, and was used for the worship of high officials or rulers. There is a usage of repurposed building materials, as well as many imported fruit trees. These trees represented the peoples original home before they were exiled. The courtyard has a fountain as well as an orange grove. A Mosque, that has once been a temple, and a church. Many religions have used this place for prayer before. This place shows a relation of man and God on the technical side. In this religion, the direction to pray in is important, and the building shows as such with the mihrab pointing that way. This shows care and consideration to what they believe will please their God in a devotional or prayer setting.

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The Law and the Gospel, Lucas Cranach the Elder, 1529 C.E., oil on wood, Gotha, Germany

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The piece has two sides, left depicting themes of law, and right depicting themes of grace. On the left the tree is dry and leafless. Adam and Eve are under judgement by God, and a naked man is being forced to hell by Death and the Devil. Moses stands under the tree holding the ten commandments. The white tablets are in contrast to his orange robe, highlighting the association to death, damnation, and law. All of this is a representation of the intense, and unrealistic beliefs of the Roman Catholic Church. The right side on the other hand had a lush green tree. Jesus is shown being crucified and resurrecting. This represents the chance everyone has at redemption. It represents the promise of salvation God has brought to all who believe in him. This was the teachings that Martin Luther was trying to show his followers. That they do not have to listen to the teachings of the Catholic Church, and do what feels right for them. He showed that religion and devotion can be completely different from person to person, and that no two worship the same way. He shows that your relationship with your god is sacred to you and only you, and not to let others try and use persuasion tactics to make people believe anything less. The relationship man has with God is his and his alone.

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Madonna and Children with Two Angels, Fra Filippo Lippi, 1465 C.E., tempura on wood, Florence, Italy 

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This piece is a representation of the virgin Mary and her child through a humanistic approach. The window in the back acts as a frame for the composition of the people depicted. There is a certain atmospheric perspective as shown in the landscape moving deep into the background. The chair that Mary is on has elaborate shell detailing on the armrests. She is shown with a string of pearls, wrapping her hair. The shading of the skin gives the entire peace a 3-dimensional felling. The way the figures are drawn suggest live models were used. Originally was an altarpiece used for devotion. During the seventeenth century, it was put on display at the Medici Palaces. The purpose of this piece really shows a connection between man and God, as it was used on an intimate and very human level. There is a deep level of commitment to their God so much so that they have a specific piece used to connect with them.