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How Non-Western Art Influence Western Art, Essay Example

Pages: 6

Words: 1767

Essay

Introduction

Art has and will always be a determinable expression of one’s culture with regards the concept of beauty that it strongly relates to. It could be understood that through time, art and its forms have been constantly changing; especially in relation to how it basically recognizes global changes, a matter that is considered constant in any form of culture or national tradition. In consideration with the developments incurred by the western culture, it could be realized how the amalgamation of cultures [due to the growing international connections spurred out by the emergence of globalization] does create a huge impact on how 21st century western art actually mandates the developments  in the said field. In the discussion that follows, two particular aspects of art that determine the value of Western art shall be given attention to. Noticeably, these factors are to be examined as to how much they are able to create a massive impact on the concept, form and content of the new age western art seen and recognized by the world today.

Looking through considerations over trade and cultural exchange through diplomatic relations, this discussion shall try to explore how good improvements on a well-defined system of development is determined especially for the sake of insisting on how western art is to be consistently viewed as the modern world takes over. Through time-based improvements, the amalgamation of cultures towards the creation of a new western value of art shall be given particular attention in this presentation.

Non Western Cultures

Two primary non-western cultures are to be looked upon in this discussion; one is the Islamic culture and the other is the European culture. It is understood that somehow, the Islamic culture is more religiously defined while the European culture is more socially dependent. Both of these cultures are basically giving an intermittent insistence on how western art develops accordingly. Most likely, it could be realized that the determination of such effect depends so much on the relationship that the western countries have with these influential factors.

The Islamic culture is noted for its concentration on different patterns [basically concentrated on animals and other natural elements] that directly reflect the religious ideals that the Muslims fully depend upon. The presentation of such elements are largely made obvious especially for the sake of making a definite impact on how the said religious group recognize the real value of patterned art especially in terms of creating a distinct insistence on how the members of international religious group actually determine their culture with these symbolisms. Seen from these photograph below, body art is one particular contribution of the Islamic culture in the western artistic value.

Contoured with patterns of several designs, this particular art marks the concept of repetitive images that create a definite impact on how the Islamic culture entangles with the western culture; a matter that identifies well with how global developments are identified to create a massive impact on modern human cultures around the globe.

On the other hand the European culture depends so much on social development and the establishment of social strata. This could be obviously seen as proven by the painting of Peter Paul Rubens noted as the Arrival of Marie De Medici.

As seen from the painting, the European society makes a definite impact on how the world values social diversification especially when it comes to mandating the status they are recognized with. Noticeably, it could be understood that with such point of stratifying culture, the art that Europe holds proud of is able to manifest a sense of creating a definite insistence on how the world handles the changes that involves cultural diversification.

To note the impact of these cultures on the value and presentation of western art, the attention on how the development of the textile art [focused on fashion] and the concept of architecture [structural art] shall be given full consideration in this discussion. Both cultures are considered to have an impact on the concept of fashion and structural art. Relatively, the factors making up these cultures separately shall be given attention to.

New Age Western Art

Islamic art as seen in fashion is usually determined by the patterned design; one that makes it certain that the textile is able to stand out in unique distinction among others [as somewhat Islamic in form]. Noticeably, the world of fashion has been evolving through time, and the Islamic impact on such industry creates a massive distinction on how it promotes such a culture. When it comes to the determination of the impact that this culture has on western architecture is the emergence of dome-like imagery in particular structures that are usually cultural in nature. Museums in western regions often take such an option of design not only because of the creative value of the design itself but because of the environmental and sustainable value that the dome itself has for the structures being created. At the same rate, the patterned imagery in Islamic culture could also be seen through the architectural feats copied into the artistic culture of the western architecture.

What made such culture largely acceptable to the western culture? One particular matter is that when it comes to the religious value that the elements making up the Islamic religion extensively influential did not fully put particular insult on the Christian culture or towards other religious groups as well. Noticeably, these patterns are rather common in form; hence are considered acceptable as a whole, especially for the sake of promoting creative design.

On the part of the European culture, the most intermittent value could be connected to how social development is accompanied by social diversification based on economic separation that one individual has from another. The promotion of social stratification is one that basically insists on how people are stereotyped. In a way, the same culture in itself is considered in the western culture both in fashion and architecture. When it comes to fashion, the feel of the textile’s texture tell so much about the mandate of the real value of the fashion being presented to the public. Practically, the determination of the textile, how it was made and its resulting final product that provides a stratifying presentation of a person, does create a sense of separation on who is able to wear what. Based on pricing and branding, there are instances when only a specific sector in the market is able to appreciate the fashion that is released at one time.

In architecture, the practice of such culture of stratification is also carried into account. Western structural art has basically been defined by the concept of developing options that mandate the creation of factorial distinctions on how the function of an architectural feat is determined by those who are going to use and the location where they are to be established in. The creation of new options of development in the field of architecture create a massive insistence on making structural establishments more effective especially in the hope of serving a particular purpose that they ought to be noted and recognized for.

Influences and Results

The influential pattern that both the Islamic and European culture has on the value of Western art creates a definite insistence on how modern living and the value of globalization actually mandates a sense of what makes up a determinable evolution of art [based on cultural and traditional changes in the international field of national-relations]. Obviously, the world today embraces what makes up the overall value of western art as an amalgamated from of presentation that most cultures have a distinct influence on. The Islamic and the European cultures largely affect the overall value of the western artistic culture especially in the aspect of creating meaning and establishing a sense of definite value that the art would have in terms of making a new sense of culture in the modern society today [not only in the western region, but around the globe as well]. Practically, the world faces a massive form of evolution and transformation; and in the field of Western architecture and fashion, the influence of the Islamic and European culture are strong enough to provide as much consideration on how the overall culture of the society is redefined by time and by the amalgamation of traditions put together to create international camaraderie is what makes the value of such art worthy of recognition.

Conclusion

Art, as a form of expression, will always be a distinct sense of determination on how humans think and how they want to impose on how they share their thoughts to the public. On the same course, the external situations, including culture and traditions as well as social norms are largely making a definite impact on the changing worth of modern art. In this discussion, it has been made clear that western art has been strongly affected by emergence of modern social developments brought about by the assumptions of globalization.

Religion and social stratification are among the factors that characterize the overall definition of how these cultures redefine the being and reputation of the western culture. At present, the modern culture of the world welcomes such pace of developments and social transformation. Following different patterns of progress, the concept, the form and the context of art that represents the western culture now provides a distinct insistence on how the amalgamation of culture actually affects the overall value of social development and how art is able to represent such advancement accordingly. The Islamic and the European culture directly makes a definite insistence on proving such matters; thus making a definite determination on how cultural development affects artistic imagery and representation in accordance with the value of art to which different national cultures are mirrored in.

References

Sandars, Nancy K., Prehistoric Art in Europe, Penguin (Pelican, now Yale, History of Art), 1968 (nb 1st edn.; early datings now superseded).

Jones, Dalu; Michell, George, eds. (1999). The Arts of Islam. Arts Council of Great Britain.

Kleiner, Fred S. (2008). Gardner’s art through the ages: the western perspective (13, revised ed.). Cengage Learning.

Kleinhenz, Christopher; Barker, John W (2004). Medieval Italy : an encyclopedia, Volume 2. Routledge.

La Niece, Susan; McLeod, Bet; Rohrs, Stefan (2010). The Heritage of “Maitre Alpais”: An International and Interdisciplinary Examination of Medieval Limoges Enamel and Associated Objects. British Museum Research Publication.

Sheehan, James J. “Art and Its Publics, c. 1800,” United and Diversity in European Culture c. 1800, ed. Tim Blanning and Hagen Schulze (New York: Oxford University Press, 2006), 5-18.

Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art. Berkeley: University of California Press, 1986

Florian Dombois, Ute Meta Bauer, Claudia Mareis and Michael Schwab, eds. Intellectual Birdhouse. Artistic Practice as Research. London: Koening Books, 2012.

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