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When observing the progression of humanity, the accomplishments achieved regarding art have proven not only everlasting but ever-impressive. From the first cave paintings to the most recent architectural marvel, art in any form can both reflect and impact society in significant and meaningful ways. With each work serving as a glimpse into humanity’s past, we hope to achieve a greater understanding of where we were and how we saw the world then.
As such studying art history has been an endearing exercise for many throughout time. Be it, the casual observer in a museum hoping to embrace culture and history or a scholar attempting to dissect a piece from an official standpoint. No matter who’s observing art history or why, how they do it is especially important. The reason for this is that art history requires the observer to approach the subject in a very particular way. Its only by using, but more specifically honing, this traditional approach can they truly understand what they are analyzing.
Regarding this traditional approach to studying historical artworks, the observer first needs to have a general but grounded understanding of the elements of art and principles of design. All works of art, at a basic level, require theses fundamental components to be applied in an especially deliberate and coherent way to properly convey the artist’s intentions in any meaningful way. Once an effective understanding of these elements and principles is acquired the observer must evaluate which element(s) or principle(s) are being used. Following this, they must discern what exactly the purpose those components likely have in relation to the subject, the culture and or time period in which the art was created, as this is an essential aspect of art history.
Although a seemingly universal method of studying art, when dealing with art history, this approach is most commonly applied to art with a European aesthetic and cultural influence, also known as western art. Due to this there is a question of how practical this approach to studying non-western art. Cultures, religions, aesthetic ideals and historical events differ greatly in regions like Africa, Asia, and the Pacific regions than it does in western, specifically European, cultures. These changes are considerable to make the art almost incomparable in some cases, which lend itself to very clear difficulties.
Although the changes can have some impacts on the approach, it is still very successfully applied to objects in these non-western cultures. Take for example these two very intriguing pieces of art: The Great Wave off Kanagawa, a Japanese painting created in the 1800s (Metmuseum) and this Benin Ivory Mask, a sculptural portrait created in the 16th century (“Benin Ivory”). Although considerably different in a multitude of ways from most western art, they still can have the approach applied to them.
For the Great Wave, it is a very simple yet dramatic painting, depicting several boats caught in an intense storm whipping up overwhelming waves with a mountain just peaking out of the background (Metmuseum). With this piece, the use of color, proportion emphasis and movement are present and serve a very clear purpose. The bold blue and crisp white of the wave in the foreground contrast greatly against the pale yellow-ish of the background and boats, emphasizing its presence. The clever use of proportion, having the mountain, which in comparison would likely tower the wave, be buried deep in the background making the waves seem in more massive in comparison, also adds to emphasis. This immediately forces the viewer to focus heavily on the wave, which is clearly the most important part of the piece. The curve and swirling lines of the ocean, and the finger waves guide the viewer’s eye through the piece, almost leading them to directly to Mount Fuji in the background.
For the Benin Ivory Mask: texture, pattern and proportion seem to be the main components. The carved sculpture has a very rich visual texture to it, the hair’s texture differs from the face and skin’s texture which differs from the collars texture. The ornate patterns in the collar and hair lead the viewer to explore the entirety of the piece, while the proportion of the facial features to the entire piece provide an added realism to the woman’s face.
The pieces, as with most other forms of non-western art, are clearly capable of successfully having the traditional approach to art history applied to them. They have applied the differing components of art and have used them in a sufficiently meaningful way to create the pieces. The unique cultural influences also don’t subtract from the successfulness of the artworks, rather adding layers for those studying to investigate. As such, none of these pieces seem to fail to be approached traditionally. They even succeed with using their components to give cultural significance, with the movement of the waves pointing towards what is almost definitely Mt. Fuji, a snow-covered mountain iconic and very important to Japanese culture. And the mask’s details ensure that the face is highlighted for cultural and ritualistic purpose (“Benin Ivory”). As such, while not representing all non-western works, these prove that western art isn’t the only art that can be successfully traditionally approached.
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