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The cross, now familiar as a powerful symbol, was less well known during the first four centuries of the Chrisstian era. Its prominence in art was encouraged by the alleged discovery of the True Cross some time before AD 337. Here, then, in a tiny mausoleum (approximately 10 x 11.8 metres) we find an even smaller vault, teeming with golden stars, all arranged so thet they form not only one concentric pattern but interrelated arcs which seem to set up a pulsation around the cross. This vault is in the form of a hemisphere, but the outermost stars are bigger then the central ones, which creaes the illusion that the 'dome' is deeper than it really is. The ambiguity leads the observer to see the cross suspended in an indeterminate space. Ths might be seen as an early example of Op Art, though here the intention appears to be to engender a rather structured reverence. Was the mosaicist cunningly manipulating the observer or did thes image spring - all but unbidden - into the mind of a craftsman overwhelmed by the central emblem of the new faith?

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  • mell126
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回答No.1

字が不確定のスペースで中断するのを見るように導きます。 ThsはOp Artの早めの例と考えられるかもしれません、意志はここでむしろ構造化された崇敬を生み出すことになってい現在強力なシンボルとして身近な十字はクリスチャン時代の最初の4世紀にそれほどよく知られていませんでした。 芸術での卓越は西暦337年前にいつか、True Crossの申し立てられた発見で奨励されました。 次に、私たちが見つける小さい陵(約10x11.8m)では、ここで、さらに小さい金色の星と共に豊かな金庫がすべて手配されたので、彼らが1つの同心のパターンだけではなく、見える相関的なアークも形成するthetは十字の周りの脈拍をセットアップしました。 本当より深くこの金庫は半球の形でありますが、'ドーム'は中央のものですが、一番はずれの星はその時、大きいです。(ものは幻想をcreaesします)。 あいまいさは、観察者が、十るように見えますが。 thesイメージは跳びましたか?--モザイク師が狡猾に観察者を操っていましたか、または新しい信仰の主要なシンボルによって圧倒された職人の心にほとんど自発的ですか?

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