Apse Mosaic of Santa Pudenziana

The mosaic art work is a style used by artists in their work. Its history dates back to the days of the ancient Rome where many art works applied it. It displays the decorations of art work in the mixture of the ancient and modern work of art. A good evidence of the apse mosaic art work is the remains of the early Christian church of Santa Pudenziana. The structure contains artistic work of Christ together with his twelve disciples done using the apse mosaic art. There have been two schools of thought that advocate the art works, the imperial artists and the Hellenistic artists. The two differ in a quite a number of factors ranging from the slightest to the architectural factors.
The portrait of Christ in the early Christian church borrows most of the art work from the imperialists` artists. Christ is portrayed at the centre and the disciples at the sides all of them on one plane. Apse mosaic art work has a great history beyond both the imperialist and the Hellenistic art works. It is not clearly recorded when the form of art was used and who applied it. There are much revelations of the modern art in the decoration of the early Christian church decoration. A common ground of similarity between the two art works is found in the interpretation of the art itself. Both artistic methods use a similar background when explaining the interpretation of the study area of art. Differences arise in the two work of arts where there lacks a clear guideline in the nuisance of interpretation. To support the research, I take the point of view of the imperialists. This research paper has the sole objective of discussing the two schools of art and the way they interact.
The greatest supporter of imperial art work is Ihm, an artist who display out a clear picture of the early Christian church. He decorates it with the portrait of Christ and all the twelve disciples beside him. Imperial iconography is a branch of art work that highly borrows from the imperialists` art works. It is clearly portrayed in the early Christian church in Pudenziana where many decorations bear the evidence of this artistic work. There is also the coronation of Christ as the heavenly king as it is evidenced in the analogous coin imagery, a branch of imperial art work. Another area where both art works agree is the fact that traditionalists put white robes and Christ had a gold robe. This showed that Christ was the heavenly king above all other creatures.
Criticism has come from the supporters of the Hellenistic art work saying that Christ is not the heavenly king. A common meeting point of agreement between the two arts works is seen in the description of the robes of Christ. Christ in the decoration of the early art work wears a gold robe which is mainly associated with the gods (Karkov 2). This gives one of the few agreements between imperial and Hellenistic art work theorists. A contradiction arises in the study of the Hellenistic artists on whether Christ should retain the title of the heavenly king or not.
The purple colour in the seat of Christ is a symbol of imperial artists and thus the early Christian church of Pudenziana is a true success of the imperial art works. Early emperors used bright colours in many of their goods including ornaments. This factor make the imperial art work t gain wide spread recognition as the pioneer of art. It is good to note that the bright colours used by emperors differed from that of Christ`s portrait. Hellenistic art work supporters get relieve in this consideration of the argument.
Even though many view Hellenistic art work as not popular and unachievable, it has some benefits over the imperial art works. There is clarity in the art works of Hellenistic as compared to those of imperial. This is because of the good architectural basis applied in the decoration. There is a space which is left in the alignment of the planes of the portrait and this give the portrait the clarity. Hellenistic art work is associated with the traditionalists and thus highly accepted by the larger population. Critics of imperial art work also depict the lack of area view of the portraits done using this form of art.
The illusions created by the imperial art work artists give the unique nature of the art work. There is the personification of the church as found in the book of Revelation in the holy Bible. New Jerusalem is symbolically used to show the connection between the art of work and the heavenly glory.
Conclusion
This research paper has the sole objective of discussing the two schools of art and the way they interact. It has clearly come out that the two art works have major differences. The era of apse mosaic art has no record of when it was practiced and who introduced it. The early Christian church is a true history of the great richness in art works. The imperial art work style has borrowed much on the mosaic art works. Hellenistic art work is an integration of the modern art work and the early forms of art. Decorations in both styles stand out as magnificent as the early Christian church of the Pudenziana. The integration of the two art work styles should be practiced by artists who want to remain relevant.
Works cited
Kitzinger, Ernst. Byzantine Art in the Making: Discussion of the Mosaic. Cambridge, MA: Harvard University Press, 1977 reprinted 1995), 41-43.
Mathews, Thomas. The Clash of Gods: A Reinterpretation of Early Christian Art. Princeton: Princeton University Press, 1993), 100-109.

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