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- Type:
- Student Work
- Descripción/Resumen:
- Raja Ravi Varma’s representation of apsaras is a cultural shift from the traditional Indian visual culture that focused on their bodies and promiscuity. Ravi Varma emphasizes the spiritual significance of apsaras in Hindu mythology and uses cultural symbolism to demonstrate their individual impact. Apsaras in Indian temple art are objectified and depicted as passive objects, which misrepresents their significance in Hindu mythology and spiritual enlightenment. The evolution of apsara representation is caused by cultural shifts and mythological research that centers women as independent subjects. Ravi Varma combines European and Indian art traditions to normalize the Indian culture of nudity and sensuality. He rejects the visual tradition of objectifying apsaras to emphasize their spiritual significance in Hindu stories.
- Creador/Autor:
- Bhalerao, Gargi
- Peticionario:
- Gargi Bhalerao
- Fecha modificada:
- 05/21/2026
- Fecha modificada:
- 05/21/2026
- Fecha de creacion:
- 2026-02-15
- Licencia:
- CC0 1.0 Universal
- Type:
- Article
- Descripción/Resumen:
- The young boy in Francisco de Zurbarán’s (1598-1664) Saint Peter Nolasco Recovering the Image of the Virgin of El Puig (1630) has been suggested to be either Zurbarán’s son, Juan de Zurbarán (1620–1649), or the son of James I of Aragon, Alfonso of Castile (1229–1260). Despite visual dominance, most scholars do not address the boy, and those who do offer conflicting identifications. This paper bridges the gap between these varying opinions, and concretely identifies the most formally important figure in this commission that defined Zurbarán’s career. The argument is built on the writings of Zurbarán scholar Martin S. Soria, as well as a comparison to Zurbarán’s body of work at large, primarily his tendency to create from life, and his suspected self-portrait, The Crucified Christ with a Painter (1650). I conclude that the child in the piece is likely a culmination of Juan and Alfonso and explore the implication of Zurbarán depicting his child in the noble and pious role of James the Conqueror’s son, paying witness to the rediscovery of the Virgin of El Puig. The combined figure of Juan and Alfonso gains significance through an exploration of historical context surrounding the legend of the Virgin of El Puig and its key figures. By drawing parallels between 17th-century Spanish colonialism contemporary to Zurbarán’s time and 13th-century Reconquista depicted in the painting, Zurbarán uses this composite figure to assert a vision of his lineage as triumphant and divinely favoured. Ultimately, this paper continues and expands upon Soria’s writings on the subject, and places Zurbarán within a Baroque tradition of artists, such as Velázquez, who used painting to assert their profession as divinely-inspired, nobel, and distinct from craftsmen.
- Creador/Autor:
- Krimmer, Ruby
- Peticionario:
- Ruby Krimmer
- Fecha modificada:
- 04/28/2025
- Fecha modificada:
- 04/28/2025
- Fecha de creacion:
- April 25, 2025
- Licencia:
- All rights reserved
- Type:
- Document
- Descripción/Resumen:
- Turning things that were once seen as inappropriate or undesirable to being widely accepted and loved. This can be seen in all aspects of culture, even visual culture and the arts. Two seemingly unrelated practices that have a changed perception are Tattooing and the production of Kitsch. Throughout the last century, views on tattoos have shifted tremendously in all features such as styles, techniques, symbolism, and social acceptance. Tattoo styles have changed drastically since their earliest documentation from tribal styles to commemorative memorials, and being used as a way to permanently decorate the body, in a way jewelry (although similar) cannot. Tattoos were predominately a sacred practice highlighting aspects of a culture, religion, and social class. As tattooing, was adopted by more cultures, people began to adapt the art form to fit their specific interests. In the Western world, specifically America the individuals getting these tattoos were usually seen as lower class, outcasts, and rebels. Kitsch has a long and verifying history that starts in Germany making its way to the United States just under a century ago. In the 85 years since its debut it has been great discussed and interpreted and continuously evolving. It was originally associated with low class works of art that were not thought provoking and tended to be masses produced. The association of the low class with tattoos and kitsch is very similar to how Norman Rockwell’s illustrations were seen in his early years of production. Rockwell was an American illustrator who was known for creating a romanticized depiction of American life through a photorealistic style. The evolution of tattoo acceptance and kitsch reflects a path similar to Norman Rockwell’s art. All turn towards a more positive, socially accepting, and new understanding entirely. The painting “Tattoo Artist” by Norman Rockwell is an uncanny comparison to how himself as an artist and tattoos both being seen as kitsch has changed with the times. The paralleled change in acceptance of tattoos, kitsch and Norman Rockwell all show that nostalgia is a strong factor in deciding what modern culture deems permissible.
- Creador/Autor:
- Lutz, Kennedi
- Peticionario:
- Kennedi Lutz
- Fecha modificada:
- 04/04/2024
- Fecha modificada:
- 04/23/2024
- Fecha de creacion:
- 2024/04/28
- Licencia:
- Public Domain Mark 1.0