Talk:Educational Media Awareness Campaign/Art/POTD 1

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Why did The Last supper (of Leonardo da Vinci's late 1490s mural painting in Milan, Italy) easily be accepted by the worlds from Western world to Eastern world? There were some aesthetic and visual principles it has followed beautifully, which we can have some discussions here. I want to talk a little bit:

Symmetry[edit source]

Appreciating this painting, you could find there is a implicit axle which dividing this work into two part. Alongside this implicit axle, we can almost 'close this book' as half in order to keep our simplified understanding of its pattern. In other words, the pattern of the left is similar to the right. In painting, this characteristic is very important which has been carrying a great amount of functions to make 'screen' formally and beautifully. About this point, we can learn somethings from Wiki: Landing on this painting, we can make some senses of its functions: In both religion and mortal worlds, the theme of 'The Last Supper' usually expressed the formal and authority respects to Jesus' historical contributions of self-sacrifice and forgiveness. The design of applying the structures of square-shaped pattern and making them following the principle of symmetry can send out the information of the solemn atmosphere, the respectable temperament, and the formal expression. In addition, this principle, usually, can reduce and grey the vivid comparison of colours. Following it, the whole screen was reflected out an emotion of sadness, which directly emphasised another theme - feeling sadly about Jesus' sufferings on-coming.

Personalities of characters varying with diversity vividly[edit source]

Someone argued that 'Symmetry' usually killed the personalities of Characters and made the whole 'screen' looked boring. However, in this painting, Leonardo Da Vinci have constructed several 'Channels' limited in certain spaces-times to overcome this short-coming. Here, we can discuss a little bit in Postmodernist perspectives:

Table is a 'channel' for diversity[edit source]

Through table's setting from the left to the right, disciples of Jesus - their faces and expressions were travelling very differently. Someone felt sad, someone felt angry, and someone feel 'nothing to do'; meanwhile, someone was sobbing, someone was appealing or suggesting, and someone was in silence.

One longitudinal 'channel' existing - the order of spaces-times[edit source]

From things and people appeared in front of us to the far-away long-distance-landscapes outside windows, we can explore more in terms of diversity:

It is not only in terms of spaces, but a time-line originally back till far-ancient world. Travelling through this 'channel', the paintings of black doors almost have given much more historical possibilities for human beings to make choices, but we have still been here, why? What are the symbolized meanings behind these doors? Are the landscapes outside the far-away windows real from Jesus' that time? Or, other holly spaces-times? Or some original home? Extending this longitudinal axle back to somethings in front of altar-stone and imagining, We would find things, till now when you are facing this painting, had not been terminated. What is the other side of this 'channel'? Far more behind our vision, what will have been existing? Therefore, the extending of this painting alongside the longitudinal axle and also the outsides of it could be seen as the supplements of 'symmetry' for us to explore more.

Comment: This is really a good Postmodernist explanation. I felt very happy to see this point.Jason M. C., Han (discusscontribs) 13:37, 17 October 2016 (UTC)[reply]

'Black doors' and their symbolized meanings[edit source]

These doors are arranged by following certain pattern. The colour made them heavily existing in our hearts, which reflexives here what has been going to happen is a continuous judgement. They are like several black-holes absorbing the vitality of Jesus's 'The Last Supper' table to other sides. 'Cold and sad' ... but, 'justified and realized'.

The altar-stone without 'words'[edit source]

In order to make the remembrance, we usually gave some very important persons or historical moments the caved inspirations on their altars. However, there is none. It can give us some pieces of information - it will have not been stopped till future; no mortal ones have the rights to cave the comments on it; and the grey-colour was almost produced according to its theme, which let others feel sad and solemn.

Further developing zones can be discussed accordingly[edit source]

This painting is a great work in terms of 'the Last Supper', which we can made wide discussions and talks, such as this designs and its further meanings to now and future. Wish we can read out more about Leonardo da Vinci's innovation!