While this work is generally abstract, creature and animal forms are
recognizable, giving it a fantastic, other-worldly quality. I would argue low
relief elements effectively create the background more than a field/ground
relationship, however field/ground is probably more appropriate because the
backdrop is a vague plane versus something recognizable. A graceful sense of
motion charges the lattice, with clearly repeating strokes and blocks of
negative space. This work is conceptual in design because of the impression of
steady movement and grace it inspires.
On a literal basis, all identifiable local areas are unique. In terms of energy and the elemental blending that occurs when a work is taken in overall, this work is approximately symmetrically balanced. This works uniquely curved lines create interest in two ways. First, the strokes gently vary in width, creating diffused thick/thin areas. Second, the well-orchestrated manner in which they intermingle create similarly-sized shapes of negative space that aid the patterning effect the curves create while creating interest by their unique shapes.
Recognizability and relative size cause some of the animal-forms to attract more interest than other areas. While this places more emphasis on these forms, it does not increase their importance. Otherwise, motion is abundant but diffuse. The individual components that create this work are necessarily simple, yet the combined effect is one of lush, lively energy. The boundaries this series of panels are placed within contrast ingeniously.
The original of this relief series was installed in the eleventh century, and what is pictured was actually reconstructed in the twelveth. An exemplification of grace, carefully-calibrated elemental interweaving and control of energy, the literal subject matter is one of vicious conflict. Tiny, slender serpentine, fantastical and Earthbound creatures attack and grapple with each other. This work evidences the traditional mythological traditions of northern European cultures blending with the relatively young Christian influence.
On a literal basis, all identifiable local areas are unique. In terms of energy and the elemental blending that occurs when a work is taken in overall, this work is approximately symmetrically balanced. This works uniquely curved lines create interest in two ways. First, the strokes gently vary in width, creating diffused thick/thin areas. Second, the well-orchestrated manner in which they intermingle create similarly-sized shapes of negative space that aid the patterning effect the curves create while creating interest by their unique shapes.
Recognizability and relative size cause some of the animal-forms to attract more interest than other areas. While this places more emphasis on these forms, it does not increase their importance. Otherwise, motion is abundant but diffuse. The individual components that create this work are necessarily simple, yet the combined effect is one of lush, lively energy. The boundaries this series of panels are placed within contrast ingeniously.
The original of this relief series was installed in the eleventh century, and what is pictured was actually reconstructed in the twelveth. An exemplification of grace, carefully-calibrated elemental interweaving and control of energy, the literal subject matter is one of vicious conflict. Tiny, slender serpentine, fantastical and Earthbound creatures attack and grapple with each other. This work evidences the traditional mythological traditions of northern European cultures blending with the relatively young Christian influence.
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