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The School of Athens and the High Renaissance

      The School of Athens is a fresco painting in the Papal apartments of the Vatican. It was painted by the great master Raffaello Sanzio, who is commonly known as Raphael. It was executed in the beginning of the sixteenth century, during a period that marks the happening of the most rigorous creative activities during the high Renaissance. The center of activities had moved from Florence to Rome. It had shifted “from the city of hard heads, sharp wits, light feet, graceful movement, to a city of weight,” a city that was “a huge compost-heap of human hopes and ambitions,”.1 The powerful presence of the Pope Julius the second, in Rome, became a catalyst for the creation of some of the most monumental works of the time. In fact, without his presence, Raphael would have never had the opportunity to paint the School of Athens that adorns a wall of the Stanza della Segnatura.
      The purpose of Stanza della Segnatura is not certain, it was either designed to be the Pope’s “private Library”2 or it was to be utilized as a “judicial tribunal”3. In either case its presence in such a venerated and prestigious location does give it a considerable amount of distinction. However, what make it truly unique is the multi faceted way in which it becomes the synopsis of ideology and style of the High Renaissance.
      At the most elementary level, even the compositional setting of the painting radiates the elegance and grace of design that is symbolic of the High Renaissance. Although the pyramidal setting of the painting appears almost effortless owing to the remarkable visual unity of the work, we must not be seduced to ignore its complexities. The figures of Plato and Aristotle that are the central figures in the composition are made distinct by the illuminated arch that encloses them. This detail greatly adds to the flow of the painting as it defines the “elliptical movement”4 of the composition. The eye first spots the two main figures and then travels through the painting, experiencing the two levels of the foreground and moves back to Plato and Aristotle.
       The painting incorporates many energetic groups that draw the eye into their realms very effectively. However, the artist has accomplished to visually connect these groups with such perfection and beauty that we often overlook the great control over the design this must have required. The groups seem to naturally connect to one another, thus maintaining the visual unity. Such a “grouping of several figures in a meaningful relationship”5 is a categorically High Renaissance traits that begun with Leonardo’s development of the pyramidal form of composition. Raphael, who is renowned for his great talent of assimilating the influence around him is said to have been able to “benefit on almost every level from solutions of his older contemporaries in the process.”6 In spite of all the great men, Perugino, Michelangelo and Leonardo whose work and presence greatly inspire Raphael, it will be wrong to assume that he was merely synthesizing their techniques in his work. On the contrary, he used their example to develop his personal solutions. The result was that his personal genius caused his art to become one of the most “influential statement made during the Renaissance”.7 Similarly, in this painting he uses the pyramidal composition and dexterously connects the various groups into a harmonious composition. One example of how Raphael manages to achieve this effect is the figure towards the right hand side corner of Euclid’s group. This figure with its back towards the viewer is captured in action, moving up the flight of stairs. The position of his right leg connects him to the group of people around Euclid. Moreover, he also forms a tonal contrast with this group. This use of chiaroscuro, along with the placement of his legs makes him a connecting agent between Euclid’s group and the group near Aristotle. Furthermore, the twist of his body, the effect of contraposta and his gesture connect the seated figure of “Diogenes in his isolation with the world about him”.8 Thus without disrupting the mood and individuality of the character Raphael successfully manages to unite them.
      The architectural space in which the figures are placed also adds to the unity of the painting. Along with giving the fresco an ambiance of grandness and fulfilling the convention of the usage of an architectural space around the characters, the arches and pillars also create depth in the painting as the recede in the background. The frontal arch also performs a second function. Along with the posture of Ptolemy and Pythagoras the frontal arch becomes an agent that “bracket the energy of the composition”9. The stairs also assists in creating harmony. Their presence “allows Raphael to compose his groups of philosophers so that they flow into, as well as across, the picture space”.10 It is also worth noticing that the building that stages this grand drama of the philosophers is similar in design to what Bramante dreamed to be his St. Peter’s. Moreover, the presence of the statues of the ancient Greek goddess and god Athena and Apollo indicate the great interest the artists of the High Renaissance took in the period of classical antiquity. These two factors again drive our attention to how Raphael incorporates and makes his own, the influences of his surroundings. In fact it is this ability of the artist that makes his work the microcosm of many of the aesthetic norms and values that came together to be termed as the High Renaissance.
      Along with the concept of unity, the School of Athens also depicts many other aspects of the High Renaissance. For instance, the intense anatomical representation of the figures and the emphasis on the muscle structure are both in keeping with the stylistic norms and interests of the High Renaissance. The use of the knowledge of contraposta and weight shift is obvious in many of the figures. For instance, the figure that stands to the left of Heraclitus, bends towards Pythagoras, with his left foot placed on a block of concrete. With his left knee bent his body weight visibly shifts more towards the left side of his body. This results in a graceful movement of the body that has been marvelously captured by Raphael. The exposed arms and legs of many of the figures of the school of Athens exhibit Raphael’s understanding and his interest in the muscular structure of the human body. Most prominent in this case are the figures of Diogenes and Heraclitus.
      Raphael has also made a good use of light, which was another element with which the artists of the High Renaissance worked extensively. Light is used to create depth. The arch that frames the fresco is much darker than the space behind it. Consequently it drives the eye into hall where all the activity is taking place. Chiaroscuro is also used to accentuate the figures, to guide the viewer’s eye in the midst of certain groups and to unite the composition as a whole. The light falls on the draperies and the flesh of the figures revealing the fall of their garments and hinting at the structure that lies beneath it. The muscles of the figures are also made prominent by the play of light. The presence of the figure clad in white garments near Pythagoras direct the eye towards the figure that stands on the right of Heraclitus, in search for a similar intensity of light. The highlight on the garments of this figure in turn makes the eye shift to Pythagoras himself. In essence, the play of light reveals the focal point of this group and also connects the group with the rest of the painting.
          Such a visual analysis of the School of Athens reveals many of the High Renaissance traits that it exemplifies, but this should not lead us to overlook the importance of the relevance of it’s subject matter to it’s time. In this fresco Raphael creates a scene in which the philosophers and scientists of the ancient world are “rediscovered by the Renaissance thinkers—conversing and explaining their various theories and ideas.” Such a setting is an ideal representation of the High Renaissance as it reflects upon the great ambition and enthusiasm for the classical world. They did not intend to simply replicate it rather they aspired to “absorb it, to equal it, to master it. They were going to produce their own race of giants and heroes.”11 Furthermore, the subject matter also depicts the interest of Pope Julius the second who wanted to be acknowledged not only as the religious but also as a temporal leader. This socio-political significance of the painting adds yet another layer of reason to the argument of it’s being the paradigm of its age. Perhaps these were some of the reasons that persuaded Kenneth Clark to write: “In so far as civilization consists in grasping imaginatively all that is best in the thought of a time,” the School of Athens and the Disputa “represent a summit of civilization.” 12

1 Clark, Kenneth. “The Hero as Artist”. Civilisation. Eightheenth edition. England: Butler and Trnner Ltd., 1994.
2 Murray, Linda. “The High Renaissance in Rome”. The High Renaissance and Mannerism. Fourth Edition. Singapore: Thames and Hudson Ltd. 1995.
3 Gardner. “Beauty, Science, And Spirit in Italian Art”. Art Through the Ages. Twelfth edition. Volume 2. Two volumes. USA: Thomsons, 2003.
4 Gardner. “Beauty, Science, And Spirit in Italian Art”. Art Through the Ages. Twelfth edition. Volume 2. Two volumes. USA: Thomsons, 2003.

5 Murray, Linda. “The New Century”. The High Renaissance and Mannerism. Fourth Edition. Singapore: Thames and Hudson Ltd. 1995.
6 Beck, H. James. Raphael. Japan: Harry N. Abrams, Inc, 1994.
7 Beck, H. James. Raphael. Japan: Harry N. Abrams, Inc, 1994.
8 Murray, Linda. “The High Renaissance in Rome”. The High Renaissance and Mannerism. Fourth Edition. Singapore: Thames and Hudson Ltd. 1995.

9 Gardner. “Beauty, Science, And Spirit in Italian Art”. Art Through the Ages. Twelfth edition. Volume 2. Two volumes. USA: Thomsons, 2003.

10 Murray, Linda. “The High Renaissance in Rome”. The High Renaissance and Mannerism. Fourth Edition. Singapore: Thames and Hudson Ltd. 1995.
11 Clark, Kenneth. “The Hero as Artist”. Civilisation. Eightheenth edition. England: Butler and Trnner Ltd., 1994
12 Clark, Kenneth. “The Hero as Artist”. Civilisation. Eightheenth edition. England: Butler and Trnner Ltd., 1994

(The article below has been published in the 25th issue of Synergyzer)

A cup of interactivitea

Mariam Ahmed talks about bringing brands right to the consumer’s table and how interactivity sells.

The society is changing more rapidly than ever before. With the limitless opportunities created by the digital and virtual worlds, consumers have increasingly become more choosy and temperamental. To win their attention, the marketer must strive harder. They must really put themselves in the consumers’ shoes, in their minds and in their hearts. They can not do without really digging deep to realize exactly what is it that entices and excites these not so easy to please customers. Naturally, this becomes even more compelling when the target market is of those youngsters, for whom there has never been any other alternative reality. This in turn naturally created a need for alternative and non-conventional marketing technique.

With the late but much needed realization of local marketers to delve in the arena of interactive marketing techniques came the great boom of branded reality shows. Although the possibilities of this genus are limitless, they are currently mostly employed in the format of reality shows. One such show that made a huge appearance and created many ripples in the marketing world was, ‘Hero Banay Ki Tarang; a show that boasted about launching Pakistan’s very own Hero-hunt. The format of the show was fairly simple. The prospect participants were asked to send in their portfolios. A panel on three judges which included the much acclaimed Pakistani director, Syed Noor and the seasoned film actors Resham and John Rambo then short listed twelve contestants to participate in the show and prove their metal.

The strongest aspect, which also became the unique selling point of the show was that it hit a chord with the very heart of the masses. In spite of the depleting state of the Pakistani Cinema, one cannot deny the charisma the silver screen still holds for the public. Moreover, the show also provided a platform for the massive population of the youth of Pakistan. Another factor that might have a significantly influenced the popularity of this show, is the hype created around reality shows in our neighboring country. The phenomenal amount of viewer ship of such Indian shows in Pakistan, gave those creating local reality shows ample reason to feel confident about launching them.

The show ‘Hero Banay Ki Tarang’ was the brain child of the Kontent Head team and as is obvious from the name, was sponsored by the Tarang tea whitener. The idea was to create a branded show in which the advertising and promotion of the product would seamlessly blend in with the content of the show. In this respect the most successful aspect of the show was its name, which seemed naturally attuned to the brand name of its sponsor. Moreover, the concept and mood of the show also complemented the already existing TVC and print campaigns of Tarang. Tarang has always had a filmy and melodramatic mood throughout its advertising campaign from the very start.

This consistent following up and commitment to a single image or idea in the Tarang advertising, which seems to be a rare trait in our part of the world, evidently paid off tremendously. Not only does this association help in making it easy to define and register the brand with the consumers but has also carved out a niche for the brand that is entirely unique and uncontested as yet. However, in spite of having such a perfect brand placement, the show Hero Banay Ki Tarang did not utilize this opportunity to the best of its potential. For instance, Pakistan’s film industry has a very distinct mood and culture about it which was entirely over looked in the set design and look of the show.

Hero Bannay Ki Tarang fully utilized all their resources and outreach to spread the word and create optimum hype for the show. The show was launched with ARY as its media partner which naturally gave them the advantage of integrating the Hero Banny Ki Tarang’s content in the other programs of the ARY network. One such effort was the ‘Hero Talk’ in the morning and late night shows. The audiences of the music and cooking shows were also tapped through footage insertions, behind the scene activities and guest interviews. Moreover, Knotent Head also utilized the virtual media for its publicity, not only are the videos and discussion blogs accessible on the Hero Banay Ki Tarang’s official page, they are also visible on search engines like Google and YouTube.

The core concept behind the content of the show seems to be completely aligned with a quote by David Ogilvy, “There is no need for advertisements to look like advertisements.” This is precisely the strength that Hero Bannay Ki Tarang makes use of to become an unfaltering success. Other than providing entertainment for the viewers and promotion for Tarang, the show also provided a substantial amount of support for the much needed promotion of the Pakistani Cinema. This was also a very wise decision from the brand’s point of view, as it gave them the advantage of providing the viewers with content that displayed empathy towards the viewer’s aspirations and desires. Our society has always been very passionate about hero worship, thus the craze for cricket and the era when every teenaged boy had an Imran Khan poster up on the wall of his room. Or the earlier Waheed Murad’s hairstyle craze, when all the young men would want the Chocolate Hero’s hair cut. Even more recently, only a year ago the Kumkum jhumkay or Parvati look-a-like bangles were being marketed vociferously all over the local makeshift bazaars in the country’s biggest metropolis, Karachi. The content team behind Hero Banay Ki Tarang realized that this tendency of our society was indicating on something that is more than skin deep. It identifies a mind set, an ethos that is an integral part of the very essence of our people and it is precisely this insight that further gave them an edge over the multitude of other reality shows that are being air in present time. Naturally, the impact the show created and the audience response it received was tremendous. It was learnt through the content team for the show that even from its very beginning the show had created so much hype that most contestants especially designed their portfolios for the competition. Not only did the show have a large number of viewer-ship but it also received a tremendous amount of feedback both in terms of voting and in terms of comments on the web. It suffices to say that the blog, created on the show’s official website spreads over twenty pages of comments.

Although value could have been added to the show, had each episode’s content and execution been looked through in more detail and the design as mentioned earlier was in someway more Lollywood inspired, on the whole the show was a great success. This prefect partnership of the creative of the Kontent Head team and the Marketers of Tarang truly came as a fresh breath of air. What is truly the need of the day, for the industry to grow from strength to strength are more such ventures and more such daring minds.

Mariam Ahmed is a member of the content and design team for Synergyzer and Brandsynario.com. She is also a visiting faculty member at Karachi School of Art and can be reached at mariamahmedarifi@gmail.com