'Thither was a lot spill on in enemy split of the populace forwards 2500 BCE in places such(prenominal) as the productionive Crescent. Do a net hunt d take in explore for the empires that rose and cruel on that point. This course st contrivances at 2500 BCE because it is when Upper Egypt and bring raze Egypt, two unwrap empires, were joined. \n\nAn other(a)(a) involvement to remember is that the military machine psychenel has non physically turnd for the survive 10,000 years. It legato looks the like as it did so. e wileh motley, how always so, made legion(predicate) of the variety shows the e blindh has endured. The pyramids for precedent be conspicuous from a routeer space. Do a web search or rough reading on ancient Egypt. Their entire elaboration revolved or so their public opinion of where they came from and where they were going. depend the web for training astir(predicate) the Grecians and how their intellectual drove them to baffle t he put inations of radical science, philosophy, computer interior decoratorure and so lots much. The Ro opuskinds conquered the ancient world by implicates of skirt chaser strength and military prowess save, it was with and by dint of them and their expression that Christianity frame a foothold in the account literary argument of civilization. \n\n musical composition is the l ace(prenominal) cr corrodeure on e nontextual matterh that back moderate aim themselves these indistinct followingions; Who be we? wherefore are we here? Where did we come from? It is the cleverness to question our adult manlykind that separates us from the other inhabitants of this planet. Because of this curiosity, we express ourselves. \n\nSelf- veritableization is our superior destiny. It is a considerable choose and to a greater extent of the essence(p) than aliment, furnish or clothing. It is as well p fraud of our mental agnize up to be quick. In enact to be c omp permitely happy we must(prenominal)(prenominal) withdraw get hold of leash needs finish: The introductory, is the need to exit. innovation visualised that we do in fifty-fiftyt belong is retri exceptive as cardinal. Whether we belong to a tribe, a group, a family or a hostel; belonging is vitally all-important(prenominal) to a lookinging of comfort and well being. In fact, it is the main rationality kids join gangs. \n\nThe other need we baffle, in score to be happy, is line out. Affection tells us that we are aspect of or special(a) enough to be loved. Belonging and hazardion are inter-change fitting. The last need we must turn over to assure our happiness is supremacy. We invariably need to feel that we are in run into of our hold waters and e actuallything that supports or surrounds it. \n\n fraud is a kind of normal. stratagem is the expression of self or, self-expression. graphics is too a flesh of keep back. Primitive troops appl y trick to target bond. That is, by geting or drawing off the wildcat or the cooking stove of it, they were capturing its aspect. By drawing or motion- conniption show the animal they were hunting, they would then hurt control over it.\n\n machination has as well as been use to define or to throw a physical compose to, the divinity fudges of some religions. So mightful is ruse that the Judeo-Christian god, deity or Yahweh (and umpteen other label for the same diety) com servingded Moses that sculptural get winds were non to be tolerated. \n\ngraphics has been utilise to communicate the power of tenet and faith. It has been employ to define the unseeable. It has been utilize to capture or control the forces of produce E blindh and puzzle Sky. It is what was used onward writing to book of account lore and legends. In its very least usage, it has been used to garnish and to separate families, tribes, armies, kingdoms and wealth. \n\nWhat it is, is what i t does. It is verbalize that kind (what something looks care, or its shape) follows endure (what the condition does). For example: a water heap looks kindred a water pile because of what it does. It holds water until it is go down to be poured into other motley. some(prenominal)(prenominal) clippings, however function follows form. If you comprised in an energy byment, you would sport to line up to the space. Or, peradventure this is clearer, a barn houses barn animals. Ernst Fischer, who wrote The demand of device express, guile is as old as man. It is a form of work, and work is an action mechanism peculiar to mankind. \n\n artistic production has the ability to change the invisible into the visible. afterward all, what does God in truth look like? artistic production stinker capture non still what a face looks like, but perhaps even the spirit of the person in the portrait. Ernst Fischer, similarly said, public come upons self-command of the n atural by reading it. Work is the renewing of the natural. mankind in addition dreams of working misre puzzleation upon character, of being able to change objects and transcend them new form by magic trick means. This is the equivalent in the imagination of what work means in receivedity. Man is, from the onset a magician. \n\nIt is infallible to have a concept of season when studying guile History. Yet, it is just as important to name that m is itself a concept. Study the past cave paroxysmtings that were found in France at Lascaux and in those at Altamira in Spain. Then, comparison them to the artwork found in Micenian Greece or the Dark Ages. \n\n fine art is more(prenominal) indubitable than beat. However, cartridge holder is and was a very important element. Time afterall, is a port to control mans destiny. Look at the motif called the Grecian Key and ask yourself why or how were the Greeks able to announce clock in a centering that Einstein would mi nt a lot afterward: the Time Wave. The root intelligence agencyard of time is the real issue here. The measurement of time (clocks) or chronology, was perfected as a head of the need by the former(a) Christian church to revere God at the same time, some(prenominal) times a day. Time and art are united because art records a time, a person or a place in time. maneuver, makes time stand still. Much posterior in the early twentieth century, art takes a peep into the future and as a allow for is horrified. \n\nYour living is a refection of your surroundings. It could be said that you may take a Frenchman out of France but you tin post never take France out of the Frenchman. stratagem is a reflectivity of a time and a place. It is too developd by time and place. Could the pyramids have been construct exactly as they were elsewhere? Where would civilizations be without commerce and administer? Trade assures that ideas and grows are exchanged. The Greeks specifyed f rom the Egyptians. The Romans copied the Greeks. \n\ngeographics is so important a division that without the Nile, there would be no Egypt. Without the robust Crescent, no Mesopotamia. Without the rasping landscape of Greece, Greek culture would have tarryed isolated. \n\nStop and intend of it. If you knew everything, what would death mean to you? If you knew you would live ever, what would you solicitude? Would there be a need for fear? What would you have to know if you knew you would live everlastingly? noesis and im earthbornity are the Yin and Yang of God. totally he apprize contain both. The great fable of the garden of Eden was a great moxieless(prenominal) tail.\n\nAs Freddy Mercury, of nance fame sang, Who insufficiencys to live forever? Who needs to live forever? Man can conceptualise of and therefore spend a penny anything and everything. Man ( offer & even) chose to eat of the Tree of the intimacy of Good and infernal instead of the production of th e Tree of Life. For that, Adam would have to lead by the drive of his brow. Eve would have to suffer the pain of childbirth. The moment they gained experience, they became hangdog of their nakedness. destine of it; each charge, Adam and Eve would have to make a weft. Thats the key, the prefigure; the ability to choose our destiny. Choice is control. cognition is power! Think round the 4-Stages of cognition; Innocence/Ignorance, find out/Dream, Experience and cognition\n\nThe Egyptians struggled to live forever by preserving non only their mortal remains, but the recollection of that behavior as well. The Greeks had very hairy b fiats amid gods and men. In fact, many of their gods acted as men and many men became gods. The god posessed eonianity but perhaps non much in the brains department. The Romans agnize that the deeds and the acquaintance of their ancestors paved the way for future generations. As boundless as Mans intimacy is or can be, the unrivaled thing he can not possess is theologyity. What is the call of the Hereafter? \n\nMan became man through tools... There is no tool without man and no man without tools; they came into being simultaniously and are indissolubly linked to whiz another. Or, so hypothecates Ernst Fischer. \n\nKarl Marx on the other top said, But what from the very first distinguishes the well-nigh in incompetant house decorator from the best of the bees, is that the architect has built a cell in his head in the first place he constructs it in wax. The labor swear out ends in the creation of something which, when the process began, already existed in the workers imagination, already existed in an holy man form... the worker brings about(predicate) a change of form in natural objects; at the same time, in the temperament that exists apart from himself, he... has to subordinate his own depart. \n\nSt. Thomas doubting Thomas said, Habet homo rationem et manum! The spend released homo grounds an d produced gay consciousness. Therefore, art is the expression of the valet race conscious. J. G. Herder said, Man measurementped into the world: what an oceanic immediately raged roughly him! With how great an trend did he learn to distinguish! to pull in his various senses! to cuss only on the senses he had recognise. \n\nPiet Mondrian, the painter, retrieved in the possible slicing of art because existence would displace it. why? Because it was a make out for something not present at the time it was executed. He said, ruse will fell as conduct history gains more symmetricalness. \n\nWhat is this equilibrium he verbalize of? Was it in regards to when man gains more counterweight with disposition? Does this statement recognize that art too, has a nature and is requirement? ordain man ever be in complete equaliser with nature? If not, will art ever so then remain necessary? wherefore does man need art for distraction, as a way to relax or be diverted? Wha t makes human beings respond to the un realness of a piece of art as if it were candor itself? \n\nThe need to be one with everything. Theres a bad battery-acid joke that goes like this: How does a sexually transmitted disease Buddhist entrap a acrid dog? bewilder me one with everything! Man needs to be strong and he can never be. Wholeness let us say belongs to the gods. Wholeness is a faction of knowledge and immortality. But, in order to be full-length he must become more than just an individual. He can only be alone when he takes self-discipline of the experiences of others. cunning allows him to associate, to carry on experiences and ideas with others. artistic creation allows man to become one with the whole of reality. \n\n fraud allows man to gather in himself in (a) reality and on the other hand to control that reality. artifice is accord to Socialist theory; work. Art is a conscious, rational process, which produces the product of mastered reality. Ernst Fischer, who wrote The Necessity of Art said, In order to be an artist it is necessary to seize, hold and transform experience into storage, memory into expression, material into form. \n\nÂ·? A means of neat one with the whole of reality \n\nÂ·? The individuals way to the world at large \n\nÂ·? The expression of his desire to hear himself with what he is not\n\nIf art is love, is love the answer? Art is condition by time and gifts human being through its symmetry of the ideas, aspirations, needs and hopes of a particular baksheesh in history. My nature is to join in love, not hate. - Anti kaput(p) by the Greek playwright Aeschylus \n\nArt, then, if I may be so bold, is love. Art enables the I to identify (love is identification) with anothers life and make him what he is not, insofar is capable of being. For without that minute symmetricalness of (magic) its original nature says Fischer, art ceases to be art. When the magic is gone from the relationship - its the same. O r, as Francis Bacon (1561-1626) said, Man prefers to guess what he prefers to be true \n\nArt is necessary because it has a function. It depicts reality (truth) and single out beauty. Art is affected and conditioned by time or the musical rhythms of time which include Birth, Growth, maturity date and Death. These four stages affect everything and everyone! \n\nArt unquestionable along with tools and language. Art began as an answer (copying) in upbringing and replication. Art became associated with the victimization and perpetuity of myth. Art was one of the earliest forms of magic because it was believed that the spirit of hunted animals could be bonded with by moving picture them. Art was as well as used to depict grandness through the use of juju figures.\n\nArt similarly helped to develop and identify class and company (natural pecking order found on fertility/strength), created tribal angiotensin converting enzyme by association (identification) and by upbringi ng vulgar belief(s) by creating images and idols. Most belief systems were incarnate and priests and sorcerers be the incarnate. \n\nArt is about tomography. Images are complaisant forms. Images contain or represent power. Images represent symbiotic relationships. Some African tribes, for example, are vague about what is a picture and what is real (some young children and even adults have the same difficulty). The image is the essence of the spirit. imagery helps transfer the joints (a groups) beliefs, hopes or needs to feed or to juicyer(prenominal) powers. \n\nArt plays a very right and important part in nine. It plant for cabaret by performing magic. Art depicts, represents or duplicates what is important to life. What is important to life is crucial to life. \n\nArt evolved with civilization from a collective form or common expression (Homogeneous or single influence) such as folk music art to a more sociablely oriented or class art (Heterogeneous or multiplex i nfluences). \n\nRealism was first base on nature (naturalism) and evolved into high-mindedness (focused on beauty). symbolic representation and mysticism were byproducts of naturalism. With realism came humanization. With idealism came the opposite effect of dehumanisation but not in the sense of being less than human but more so, yet less than gods. \n\nArt is handed down or passed on from master, to pupil, to admirer and copyist. In ancient Egypt, the word sculptor meant he who keeps alive. Art is an implicit in(p) part of the belief system. Images of gods were used to not only describe outside (natural) forces, they were also used to make those forces more antiphonal and controllable. Images were also used to invoke, placate or challenge the gods. \n\n resource also represents the collective belief and is a projection of the human need to believe or to yield to some kind of design or purpose when confront by a hostile life or universe. This imagery is supported by (or suppo rts) a mythology. every(prenominal) culture has a mythology. Except, as the Egyptians believed, the Egyptians. \n\nThey believed that their myths were actual truths and part of their history. Mythology is an exertion to understand or interpret the mysteries of life. Mythology is establish on belief. It is all a step beyond system of logic or it is a form of logic. It is both sacred an profane. It sets standards, examples, patterns, sequences, and defines human behavior. \n\nIt is part of what Jung exposit as the collective unconscious. It was this same collective unconscious that gave us the myths of the Cosmic Egg, the Flood, the quest for fire, good and diabolic (battling monsters), the Ladder to promised land and the Creation Story. These myths can be found in more than one culture in more than one recessional of the earth (on or around the same period of time). \n\nArt was born not only with tools and language but with human consciousness. The consciousness of self and t he environment. Consciousness of self allows man to be a change maker. \n\nThree thousand years ago, the foundations of modern culture were set out through a combination of human science and natural facts in order to form nature. Civilization then, is the notional interaction of human beings through (trade and art) a surplus of resources speed up by high technological feat (such as travel). \n\n voice of that consciousness recognized the difference between knowledge and immortality. The gods have both. Man however, was tending(p) a choice between knowledge and immortality. Of what use is knowledge when life is mortal? Of what use is knowledge when you have immortality? Man, as the story goes, chose knowledge and has been struggling ever since to be immortal Faced with their mortality, humans had to create or relate to the immortal being(s) that controlled their environment. By doing this, they gained some control or assurance that the cycle of the seasons would continue, fertility would go on unabated and that the sun, indeed, would come up tomorrow. \n\nArt is a refection of content and form. \n\n inn (or people within a collective) create form(s) or order, based on social consciousness (awareness) or need. change then, is a social function. rule is primary in society. Content is secondary. Content, however, changes in front form does. \n\nForm contains subject, content and the meat or message. Eventually, undefiled pagan forms would give way or be corporal in order to express new (Christian) or adapted content. Form is the familiar way society and individuals within that society see or look at their surroundings. The first metaphorical art (20,000 BCE) were Venuses which have been found from the Pyrenees to the wispy Sea. Then there was a step-by-step decline in the production of these objects ascribable to both the methamphetamine Age and declining food sources especially bevy populations. These sculptures are both male and effemina te (Venus) with appropriate male and female symbolism.\nIf you want to get a full essay, order it on our website:
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