In a Western context, art understood as a practical, craft-based activity has the longest history. For example, within ancient Greek culture there was no word or concept approximating to our understanding
of ‘art’ or ‘artist’. However, the Greek word ‘techne’ denoted a skill or craft and ‘technites’ a craftsman who made objects for particular purposes and occasions (Sörbom 2002: 24). Similarly, within the classical world, examples of craft, such as statues and mosaics, had practical, public and ceremonial roles. The classical sculpture of Zeus, copy after a fifth-century BCE original (Figure 3, p. 7), would have been judged according to the technical standard demonstrated, and by the extent to which it fulfilled the social and civic roles
expected of craft. Foremost of these was the belief that the human form should be represented in its most life-like and vital sense as the union of body and soul (Sörbom 2002: 26). The idea that a sculpture or mosaic should be judged on criteria independent of such purposes was alien to the classical concept of craft.
CE and BCE In response to concerns over the implied Christian bias of BC (before Christ) and AD (anno domini – in the year of our Lord), contemporary scholars sometimes use CE (common era, equivalent to AD) and BCE (before the common era, equivalent to BC) instead.
Within a Western tradition of art, originating from Greek and Roman practice, the categories of art and craft have become familiar within specific contexts, cultures and in relation to particular audiences.
Throughout Europe and North America for example, cultural assumptions about what art customarily was were closely linked to the origins and development of the academic subject of art history itself. Of central importance to this were the social institutions such as academies and museums which were established from the late sixteenth century onwards. Collectively, these interests, and those associated with them, established normative definitions of art, that is, ideas about how art should look and what it should do, variations
of which have continued today.
Another point worth making is that to label something as art implies some kind of evaluative judgement about the image, object or process. That is, it recognises the specificity of a range of practices within a broader category or tradition with particular claims to aesthetic and/or social value. But it is important to understand
that the meaning and attributions of art are particular to different contexts, societies and periods. Whatever the prevalence through time of objects and practices with aesthetic purpose, ideas and definitions of art are neither timeless nor beyond history, but relate to the social and cultural assumptions of the societies and environments which fashion them.
of ‘art’ or ‘artist’. However, the Greek word ‘techne’ denoted a skill or craft and ‘technites’ a craftsman who made objects for particular purposes and occasions (Sörbom 2002: 24). Similarly, within the classical world, examples of craft, such as statues and mosaics, had practical, public and ceremonial roles. The classical sculpture of Zeus, copy after a fifth-century BCE original (Figure 3, p. 7), would have been judged according to the technical standard demonstrated, and by the extent to which it fulfilled the social and civic roles
expected of craft. Foremost of these was the belief that the human form should be represented in its most life-like and vital sense as the union of body and soul (Sörbom 2002: 26). The idea that a sculpture or mosaic should be judged on criteria independent of such purposes was alien to the classical concept of craft.
CE and BCE In response to concerns over the implied Christian bias of BC (before Christ) and AD (anno domini – in the year of our Lord), contemporary scholars sometimes use CE (common era, equivalent to AD) and BCE (before the common era, equivalent to BC) instead.
Within a Western tradition of art, originating from Greek and Roman practice, the categories of art and craft have become familiar within specific contexts, cultures and in relation to particular audiences.
Throughout Europe and North America for example, cultural assumptions about what art customarily was were closely linked to the origins and development of the academic subject of art history itself. Of central importance to this were the social institutions such as academies and museums which were established from the late sixteenth century onwards. Collectively, these interests, and those associated with them, established normative definitions of art, that is, ideas about how art should look and what it should do, variations
of which have continued today.
Figure 3 Zeus, copy after a fifth-century BCE original, marble, Louvre, Paris,
ã photograph Ann Compton, photograph Conway Library, Courtauld Institute of Art,
London.
ã photograph Ann Compton, photograph Conway Library, Courtauld Institute of Art,
London.
Another point worth making is that to label something as art implies some kind of evaluative judgement about the image, object or process. That is, it recognises the specificity of a range of practices within a broader category or tradition with particular claims to aesthetic and/or social value. But it is important to understand
that the meaning and attributions of art are particular to different contexts, societies and periods. Whatever the prevalence through time of objects and practices with aesthetic purpose, ideas and definitions of art are neither timeless nor beyond history, but relate to the social and cultural assumptions of the societies and environments which fashion them.
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