Responding To History Discussion

Answer

Responding To History Discussion

There is a strong relationship between Hellenistic art and Roman art. Further, the influences of Judaic and Etruscan are evident in this relationship that emerged because of the well-established pattern of transformation and continuity. The Hellenistic world as explained by oikoumene was expanded by Rome following its years of growth. During the 3^rd century, Rome engaged Hellenistic Greek through Macedonian Wars. Similarly, because of the reign of Cleopatra and Anthony coupled with their defeat at Actium in 131, Rome formed the entire Mediterranean and continued with its expansion to the Hellenistic Greek world (Elsner, 1996). Hellenistic and Roman arts have a unique relationship whereby one usually imitates and copies the other. In particular, many Greek works have become Roman copies. In most cases, the Greek originals have been extinct. The Romans have either removed or added information to the Hellenistic art. For instance, Laocoon depicts the contemporary story where Rome experiences its creation in destruction that occurs when the Trojan priest, Laocoon is destroyed by the serpent sent by Poseidon. One can easily view characteristics that identify arts in terms of pathos, also known as the histrionic conflict between a stout and almost nude muscular figure. It is evident in the human flesh, as well as, scales of the serpent, a dramatic conflict that entails possessing Hellenistic features but becomes a Roman source.

 The original Laocoon and his son as argued by Hellenistic is evident in the Pergamon. Soltes indicates that the Etruscans was a powerful person during the end of the 6^th century when the republic was established. The connection between the Etruscan art and Roman art is evident in the Roman tradition of the Capitoline Wolf, a historical work dated 500 years ago. The started art piece is believed to be the original work of Etruscan. Critical analyzing of an Italian archaeologist revealed that the art is comprised of the bronze and dates back to 6^th century of the Christian work. Famous for its mirrors, bronzes, mythological scenes and terracotta work, the art work is a real manifestation of the unique artistic skills of Etruscan. This is evident in the outstanding terracotta sarcophagus that depict the Hellenistic period. The art shows a husband and a wife lying on the funeral couch and this depicts an attitude towards women among Etruscans (Howes, 2019). This is relatively different as compared to the Greeks where men and women were staying differently since women had little roles to perform outside their homesteads. Capitoline Brutus is regarded as one of the major bronzes. As stated by the Roman tradition, Brutus is one of the two persons who conquered Etruscan King, Tarquinius Superbus in the year 508.

The Romans took the Assyrian and Egyptian pieces of idea and used them to come up with something new. Reports indicate that the Romans extended the concept of syncretism and synthesis from the Hellenistic period and thus perfected or refined the origin of western art, the lower portions that has been carried out by the civilization that precede them.

Towards the end of the 3^rd century, the Mediterranean changed to a Roman lake. In fact, Rome was regarded as the inheritor to the Hellenistic ideas of synthesis but the inheritor to the same concepts of entailing various people so that synthesis could be made somehow inevitable. Essentially, Roman art and architecture took Hellenistic syncretism to another level. It is believed that the Roman art was inspired by the Greeks from the Etruscans, Assyrians and Egyptians. For instance, Arch of Titus was developed to honor the achievements by his younger brother. In the case of Titus, the major achievement was the completion of the suppression of the agonizingly long revolt against their regime by Judea during 65-70 CE.  Reports have indicated that the independence of Judea resulted into the figure of Herod who was regarded as the last independent king who was overthrown by the Romans (Kennedy,  2009). The Judean architecture and art was shaped by the surrounding world commonly known as Hellenistic world.

As Diocletian relinquished his position in the year 305 and took years for the his system to open up, Constantine and Maxentius attacked him during the Milvian bridge war that led to the passing away of Maxentius and triggered Constantine assumption of complete and solitary power in the entire imperium. This marked the start of a chain of numerous moments that marked the change from Rome as a pagan to a Christian state. It is a change from antiquity to the medieval period.

Responding To Morian Sendor Discussions

             I agree with the argument postulated by Morian Sendor that both Hellenistic art and Roman art have used pathos to shape the advent of pietas during early Christian and Roman art. As argued by Morian, many paintings including those discussed in the lectures of Dr. Soltes have used the expression of pathos to help them explain how one feels about a given painting, a situation that resulted in the urge to seek other religious commitment (Soltes, 2008). It is true that a painting such as Child from Santa Francesca Romana in Rome is a major example of the above painting. Nonetheless, from my personal perspective, the painting does not show a person’s feelings and as a result, there is need for more work to ensure that this aspect is clearly addressed (Soltes, 2008). Therefore, although Morian offered relevant argument supporting the use of pathos in the Roman and Hellenistic arts, the arguments are not detailed and unconvincing. As such, I would award few marks in case I was to mark the paper appropriately.

Responding to Wanda Thomen

             Undoubtedly, Hellenistic art does not fade but rather progresses into Christian art, Roman art and others. Just as argued by Wanda Thomen, pathos is a critical concept in Roman, Hellenistic and Christian art because it helps an individual to see, feel and understand the story being depicted by the arts (Soltes, 2008). For instance, the expression of pathos incorporated in Tomb Stele of Hegeso makes one develops the feelings that life was cut short. Moreover, the compassion and grief it brings makes the viewer pause and thinks whether he or she is the part of the piece. I agree with the assertion of Thomen that pathos teaches viewers and makes them understand various scenes of art pieces (Soltes, 2008). Although Thomen has offered critical argument regarding the importance of pathos in Hellenistic, Roman, and Christian art, his arguments lack substance because he fails to explain how pathos help the viewer to see, feel, and understand different art works, as well as, their corresponding scenes. Because of this failure, I would award low marks to Thomen for his relatively shallow argument.