Third Level of Meaning: Context
Finding Meaning
THE THIRD LEVEL OF MEANING: CONTEXT
Quite simply, the context can be described as the circumstances surrounding the creation of something. This includes: time, place, political circumstances, environment, and a myriad of other factors that come together to create the frame within which something was created.
The craft arts have meaning too, primarily in the functionality of the art works themselves, but also in the style and decorations afforded them. A goblet Links to an external site. from the 16th century has an aesthetic meaning in its organic form, in its function as a means to hold and dispense liquid, and a particular historical meaning in the way it is embellished with diamond point engravings that depict the flow of the river Rhine (click ‘zoom’ at the bottom of the image to see the goblet in detail).
The goblet’s detailed map of the Rhine gives it specific context: the historical, religious or social issues surrounding a work of art. These issues not only influence the way the viewer finds meaning in particular works of art but also how the artists themselves create them.
For instance, the hammered gold mask from Peru’s Sican culture Links to an external site. below is simple and symmetrical in form and striking in its visage. For the Sican people the mask represented either the Sican deity from the spiritual world or the lord of Sican, a man who represented the deity in the natural world. Masks were stacked at the feet of the dead lord in his tomb. In this cultural context the masks had significance in the life, death and spiritual worlds of the Sican people.
Golden Mask, Lambayeque, Sican culture, Peru. C. 9th century C.E.
Museo Oro del Peru y Armas del Mundo, Lima.
Image licensed through Creative Commons
To view James Rosenquist’s painting F-111 Links to an external site.is to be confronted with a huge image of a fighter jet overlaid with images from popular culture, all in bright colors and seemingly without connection. But when we see the work in the context of American experience in the 1960’s we realize the two-pronged visual comment Rosenquist is making about war and consumerism; what he termed “a lack of ethical responsibility”* (from James Rosenquist, “Painting Below Zero”, Notes on a Life in Art, 2009, Alfred A. Knopf, page 154) . In the artist’s hands the two ideas literally overlap each other: the salon hair dryer and diver’s bubbles mimic the mushroom cloud rising behind the opened umbrella (which is another formal link to the nuclear bomb blast behind it). The painting is at such a large scale that viewers are dwarfed by its overpowering presence Links to an external site..