Apotheosis
The term of apotheosis returns to the topic of the divinity and receives two principal meanings: one related to the Roman civilization , and the other, its prolongation, in the field of the history of art .
Ancient apotheosis
The apotheosis in the ancient Rome was the the funerary rite most honorary, which raised the late one with the row of the gods. It was marked by releasing it of an eagle since roughing-hew it funeral, which accompanied the heart by late towards the celestial stay by the gods. The late one received then the qualifier of divinus (divine). Jules César was the first to receive the apotheosis, on decision of the Roman Sénat. The Senate decided the apotheosis for the majority of its successors, including for Constantin Ier and Constance II.
Artistic topic
The apotheosis in Histoire of art indicates an iconographic topic (used in the sculpture as much as in painting) aiming at representing the reception of a main character among the God X, with the field of the skies or with the the Pantheon of its Civilization.
It is the supreme glorification for the subject of the table. Put in orchestrated scene of the capacity, the Palazzo Vecchio of Florence presents an impressive apotheosis of its sovereign, the Large Duke of Médicis, in the room of the five hundreds, among the Coffered ceiling; the central Tondo represents it in majesty with all the blazons of the conquered cities, and the metal discs of heraldic of the Médicis family; an angel carries its sceptre to him, and another a crown places to him at the top of the head.
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le tondo with the ceiling of the room of pageantry, put in scene, figure with the center
The visitor must raise the head to the sky to see this painting more than eight meters above him: it is the apotheosis.
The Sforza, made main from Milan at the expense of Visconti, wanted to also register their majesty with an equestrian statue pointing out the epic of Alexandre the Large one; they called upon Léonard, which put on plans the statue. The latter was on the other hand never molten.
Function
Although this practice can appear ridiculous when it is evaluated according to the usual criteria of our contemporary time, we can notice that this apotheosis is also a means of glorifier the powerful ones; this artistic step perpetuates, by association between the capacity, the political community, and the religion, the creed according to which the leaders would have a divine gasoline or an inspiration emanating of a Arrière world. This rite is being in direct continuity of the Roman epoch, as the first paragraph stipulates it.
See too
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