International E-Journal of Advances in Social Sciences

Yazarlar: Giugea Gheorghiţa DANİELA

Konular:Sosyal

DOI:10.18769/ijasos.391623

Anahtar Kelimeler:Last Judgment,Voronet,Sistine Chapel,Byzantine art,Western art,Originality

Özet: The Last Judgment is one of the most common themes in both Byzantine iconography and in the Western one, being met in: the nave, the narthex, the exonartex or on the exterior, on the wall facing the sunrise or sunset. In our country, where the Byzantine model is respected, the most significant scene was painted on the western façade of the Voronet church of Moldavia in 1547 by a painter called Marcu. Shortly before, namely in 1541, a different Last Judgment had been completed in a different way, by the great Renaissance artist Michelangelo on the altar wall of the Sistine Chapel.It is, perhaps, the most famous representation of this scene in Western art. This article aims to present the two works created during the same period but in two different ways, each with its elements of originality. Considered a masterpiece of Romanian medieval art, the Voronet scene enrols in a special program as compared to other representations from our country or from other areas with Byzantine tradition, contributing to the formation of a specific Moldavian style. Apart from the religious significance, which underlies its development, specialists in the field concluded that there is here a political influence. One may add the high craftsmanship which gave value and durability to the composition. Michelangelo's Judgment was executed by order of Pope Paul III. It breaks out from the patterns before, being considered an extraordinary work both in regard to the arrangement of figures and from the compositional point of view. The painter uses here bold foreshortenings, conferring dramatic load on the scene, at the same time demonstrating a sound knowledge of the anatomy of the human body.

---