REFERENCES FROM EPISODES THAT TRANSPORT THE VIEWERS TO HEROIC ENCOUNTERS OF ACHILLES AND AENEAS; WARNINGS ABOUT MAN’S FOLLY LIKE THE VANITY OF ICARUS; THE WIT AND CUNNING OF ODYSSEUS THE BEAUTY OF APHRODITE AND THE ATHLETICISM OF MYRON. “DISCOBOLUS” (ROMAN, 2ND CENTURY AD), AFTER A GREEK ORIGINAL BY THE SCULPTOR MYRON OF 450- 440 BC BRITISH MUSEUM COLLECTION, LONDON ANOTHER INTEGRAL ASPECT OF HUMAN LIFE IS THE DISTINCT RELATIONSHIP WITH A HIGHER CONTROLLING POWER. IF THE BELIEF SYSTEM OF GREEKS AND ROMANS WAS POLYTHEISM WITH A MULTITUDE OF GODS AND GODDESSES, THE JUDEO-CHRISTIAN TRADITION STEMS FROM A BELIEF IN A LONE CREATOR OF THE UNIVERSE. GUIDED BY A HOST OF STYLES AND TECHNIQUES VARIOUS MEDIA AND ART FORMS WERE ALSO EXPERIMENTED WITH 1. PAINTINGS, 2. FRESCOS, 3. CHURCH ARCHITECTURE, 4. ICONS AND OTHER CARVINGS, 5. VESTMENTS AND 6. OTHER SACRED SCRIPTURES AMONG OTHERS. COMMISSIONED BY POPE JULIUS II, THE INTRICATE FRESCO THAT LINES THE SISTINE CHAPEL WAS CREATED BY MICHELANGELO. THE IMMENSE DETAIL AND VAST SURFACE HE HAD TO COVER HIM WORKING ON IT FORM 1508 TO 1512. THE FORMATIVE YEARS OF CHURCH ARCHITECTURE CAN BE TRACED IN THE FOURTH AND FIFTH CENTURY BUT DIFFERENT STYLES AND PLANS WERE DEVELOPED SINCE THEN. PREVAILING IDEAS AND PHILOSOPHIES BECAME RESOURCES THAT WERE USED BY ARCHITECTS TO REIMAGINE WHAT THE CHURCH SHOULD LOOK LIKE. FOR INSTANCE, GOTHIC CHURCHES WERE CHARACTERIZED BY THREE THINGS: SOARING HEIGHTS (CEILINGS), VOLUME (FLYING BUTTRESSES AND RIBBED VAULTS), AND LIGHT (BRIGHT STAINED GLASS WINDOWS AIRY GOTHIC STYLE ARCHITECTURE IS OFTEN ATTRIBUTED AS THE BRAINCHILD OF ABBOT SUGER. THERE IS A DEFINITIVE SENSE THAT POINTED TO THE FEELING OF AWE ON THE PART OF THE BELIEVER AND THE PERCEIVED MAJESTY AND POWER OF GOD ALL OF WHICH HAPPENED DURING THE TIME WHEN INTERIOR OF WESTMINSTER RELIGION WAS AT THE HEART ABBEY OF EVERYDAY LIFE. CONTENT IN ART
FACTUAL MEANING- THE MOST
RUDIMENTARY LEVEL OF MEANING FOR MAY BE EXTRACTED FROM THE IDENTIFIABLE OR RECOGNIZABLE FORMS IN THE ARTWORK AND UNDERSTANDING HOW THESE ELEMENTS RELATE TO ONE ANOTHER. CONTENT IN ART CONVENTIONAL MEANING- PERTAINS TO THE ACKNOWLEDGED INTERPRETATION OF THE ARTWORK USING MOTIFS, SIGNS AND SYMBOLS AND OTHER CYPHERS AS BASES OF ITS MEANING. THESE CONVENTIONS ARE ESTABLISHED THROUGH TIME, STRENGTHENED BY RECURRENT USE AND WIDE ACCEPTANCE BY SUBJECTIVE MEANING- WHEN SUBJECTIVITIES ARE CONSULTED A CONTENT IN ART VARIETY OF MEANING MAY ARISE WHEN A PARTICULAR OF MEANING MAY ARISE WHEN A PARTICULAR WORK OF ART IS READ. THESE MEANING STEM FROM THE VIEWERS OR AUDIENCES CIRCUMSTANCES THAT COME INTO PLAY WHEN ENGAGING WITH ART (WHAT WE KNOW, WHAT WE LEARNED, WHAT WE EXPERIENCED; WHAT VALUES WE STAND FOR) QUESTIONS?