The Reconstruction Drawing of Babylon in the 6th Century BCE has much to offer in terms of presenting various formal elements of art. The great Ishtar Gate is centered in the frame, with what appears to be soldiers marching through it toward the Processional Way vanishing lengthwise behind it. The Palace of Nebuchadnezzar II and its Hanging Gardens are in the background to the right and the Marduk Ziggurat behind that. Since it is an aerial view of dominant structures, this piece has a sense of power to it. However, being able to relate to the individuals so small at the foot of one of these structures also gives a feeling of insignificance.
Much of the composition has already been spoken about, but it is fair to say that it is well balanced. The Ishtar Gate is undoubtedly the focal point of the entire work, being a drastically different color and placed in the center next to another building colored white (another color unseen elsewhere in the piece). The green shrubbery to the right reaches equilibrium with the white building and the other greenery on the left. This makes the drawing orderly with a centered and grounded visual weight.
A particular style of preciseness can also be detected throughout due to the geometric shapes and straight lines. I think that this gives the buildings the sharp edges they need and keeps the entire framework structurally sound.
The lines, as mentioned before, are very active in the drawing. As I look at the composition, my eyes are lead from the towers in the foreground, about midway back to the intersecting wall for a pause at the focal point (Ishtar Gate), beyond to the very engaging Processional Way all the way to the vanishing point, brought from the horizon line to the Marduk Ziggurat and Hanging Gardens, and finally down a connection of shadows on the buildings where the cycle starts again. The lines holster the kinetic energy that makes the whole piece visually dynamic.
The lines, as mentioned before, are very active in the drawing. As I look at the composition, my eyes are lead from the towers in the foreground, about midway back to the intersecting wall for a pause at the focal point (Ishtar Gate), beyond to the very engaging Processional Way all the way to the vanishing point, brought from the horizon line to the Marduk Ziggurat and Hanging Gardens, and finally down a connection of shadows on the buildings where the cycle starts again. The lines holster the kinetic energy that makes the whole piece visually dynamic.
As for the colors, the palette chosen embraces a peaceful feeling. To me, the combination of very light yellowish/tan creates warmness and the right amount of blues and greens gives it the cool kick it needs. These colors remind me of the ones you would see in a tropical oasis, thus leaving me in a cozy and satisfied mood.
Another point to bring up is that this drawing takes place on a small scale. It packs a lot of business in the content, but the context is representing real life objects that we know to be larger than depicted, especially when referring to the people walking under the gate. If the proportions are correct in relation to each other (and I believe they are), then these buildings are quite sizeable. This especially gives the Marduk Ziggurat a looming sensation from a distance, since it is extremely in-depth.
After analyzing this drawing in reference to many of these aspects essential to art, I react with a pleasant sense of awe at its harmonious colors, the powerful but feigned size of the buildings, and the smoothness of its visual intricacy.
I liked the point you made regarding to scale in this image. It seems to portray things in a lifelike way, with objects getting smaller in the distance like they would normally be. This is further helped with the use of lines with each side of the road heading towards a vanishing point. It gives the city a look to be realistic but also massive in size. Another thing about this image which I find interesting is use of the Ishtar gates in the center. It gives off the feeling of importance with being the focal point of the image. This is further added upon with the use of color, nearly all of the other buildings in the image are of earthy tones but the Ishtar gates, like their real life reconstruction are a bluish color which stands out from the rest of the buildings.
ReplyDeleteThis type of drawing would easily convey both a sense of scale and of somebody trying to build a model of what is represented. What I find interesting is the angle of the drawing, how it is not directly aligned with the various buildings. The slight offset adds to the sense of awe. I also agree with the color palette, as it inspires a similar feeling of relaxation.
ReplyDelete-Brian Popielarczyk