Modern Art of the Beach With Blue Set of Two

Influence of the sea on aspects of human civilization

The part of the sea in culture has been important for centuries, equally people experience the bounding main in contradictory means: as powerful merely serene, beautiful just dangerous.^[2] Human responses to the body of water can exist plant in artforms including literature, fine art, poetry, picture show, theatre, and classical music. The earliest art representing boats is forty,000 years onetime. Since then, artists in different countries and cultures have depicted the ocean. Symbolically, the sea has been perceived as a hostile environment populated by fantastic creatures: the Leviathan of the Bible, Isonade in Japanese mythology, and the kraken of late Norse mythology. In the works of the psychiatrist Carl Jung, the sea symbolises the personal and the collective unconscious in dream interpretation.

The sea and ships take been depicted in art ranging from simple drawings on the walls of huts in Lamu to seascapes by Joseph Turner and Dutch Golden Age painting. The Japanese artist Katsushika Hokusai created color prints of the moods of the bounding main, including The Bully Wave off Kanagawa. The sea has appeared in literature since Homer'southward Odyssey (eighth century BC). The sea is a recurring theme in the Haiku poems of the Japanese Edo period poet Matsuo Bashō (松尾 芭蕉) (1644–1694).

The ocean plays a major role in Homer's epic poem the Odyssey, describing the ten-year voyage of the Greek hero Odysseus who struggles to render habitation beyond the sea, encountering sea monsters along the way. In the Middle Ages, the body of water appears in romances such as the Tristan legend, with motifs such as mythical islands and self-propelled ships. Pilgrimage is a common theme in stories and poems such equally The Book of Margery Kempe. From the Early Modern menses, the Atlantic slave trade and penal transportation used the sea to transport people confronting their will from one continent to another, often permanently, creating strong cultural resonances, while burial at sea has been practised in various ways since the ancient civilisations of Egypt, Greece, and Rome.

Gimmicky sea-inspired novels have been written by Joseph Conrad, Herman Wouk, and Herman Melville; poems about the ocean have been written by Samuel Taylor Coleridge, Rudyard Kipling and John Masefield. The sea has inspired much music over the centuries including bounding main shanties, Richard Wagner'southward The Flying Dutchman, Claude Debussy'due south La mer (1903–05), Charles Villiers Stanford's Songs of the Sea (1904) and Songs of the Armada (1910), Edward Elgar's Body of water Pictures (1899) and Ralph Vaughan Williams' A Sea Symphony (1903–1909).

Humans and the body of water [edit]

Human reactions to the sea are plant in, for instance, literature, fine art, poetry, flick, theatre, and classical music, equally well as in mythology and the psychotherapeutic interpretation of dreams. The importance of the ocean to maritime nations is shown by the intrusions it makes into their culture; its inclusion in myth and legend; its mention in proverbs and folk song; the use of ships in votive offerings; the importance of ships and the sea in initiation ceremonies and in mortuary rites; children playing with toy boats; adults making model ships; crowds gathering at the launch of a new ship; people congregating at the arrival or deviation of a vessel and the full general mental attitude towards maritime matters.^[iii] Merchandise and exchange of ideas with neighbouring nations is one of the means by which civilizations advance and evolve.^[iv] This happened widely among the ancient peoples living in lands bordering the Mediterranean Ocean, as well as in Republic of india, China and other Southeast Asian nations.^[5] The Globe Oceans Day takes place every 8 June.^[6]

Early history [edit]

Petroglyphs depicting boats made of papyrus are among stone fine art dating back twoscore,000 years on the shores of the Caspian Sea.^[7] James Hornell studied traditional, ethnic watercraft and considered the significance of the "oculi" or optics painted on the prows of boats which may have represented the watchful gaze of a god or goddess protecting the vessel.^[8] The Vikings portrayed fierce heads with open jaws and bulging eyes at bow and stern of their longships to ward off evil spirits,^[9] and the figureheads on the prows of sailing ships were regarded with affection past mariners and represented the belief that the vessel needed to find its style. The Egyptians placed figures of holy birds on the prow while the Phoenicians used horses representing speed. The Ancient Greeks used boars' heads to symbolise astute vision and ferocity while Roman boats often mounted a carving of a centurion representing valour in boxing. In northern Europe, serpents, bulls, dolphins and dragons were customary used to decorate ships' prows and by the thirteenth century, the swan was commonly used to signify grace and mobility.^[x]

Symbolism, myth and legend [edit]

The Isonade as depicted in Takehara Shunsen's Ehon Hyaku Monogatari, 1841^[11]

Symbolically, the sea has long been perceived as a hostile and dangerous environs populated by fantastic creatures: the gigantic Leviathan of the Bible,^[12] the shark-like Isonade in Japanese mythology,^{[13] [fourteen]} and the send-swallowing Kraken of belatedly Norse mythology.^[xv]

Nereid riding a body of water-balderdash (2nd century BC)

The Greek mythology of the body of water includes a complex pantheon of gods and other supernatural creatures. The god of the sea, Poseidon, is accompanied past his wife, Amphitrite, who is ane of the fifty Nereids, sea nymphs whose parents were Nereus and Doris.^[16] The Tritons, sons of Poseidon, who were variously represented with the tails of fish or seahorses, formed Poseidon's retinue along with the Nereids.^[17] The mythic body of water was further peopled by dangerous sea monsters such as Scylla.^[xviii] Poseidon himself had something of the shifting character of the sea, presiding not only over the sea, but also earthquakes, storms and horses. Neptune occupied a similar position in Roman mythology.^[19] Some other Greek sea-god, Proteus, specifically embodies the domain of sea change, the adjectival form "protean" meaning mutable, able to presume many forms. Shakespeare makes apply of this in Henry VI, Role iii, where Richard III boasts "I tin can add colors to the chameleon, Alter shapes with Proteus for advantages".^[20]

In Southeast Asia, the importance of the sea gave ascension to many myths of epic ocean voyages, princesses on distant islands, monsters and magical fish lurking in the deep.^[5] In Northern Europe, kings were sometimes given transport burials when the trunk was laid in a vessel surrounded by treasure and costly cargo and ready adrift on the sea.^[21] In North America, various creation stories have a duck or other beast dive to the bottom of the sea and bring up some mud out of which the dry state was formed.^[22] Atargatis was a Syrian deity known as the mermaid-goddess and Sedna was the goddess of the sea and marine animals in Inuit mythology.^[23] In Norse mythology Ægir was the sea god and Rán, his wife, was the bounding main goddess while Njörðr was the god of bounding main travel.^[24] It was all-time to propitiate the gods before setting out on a voyage.^[25]

In the works of the psychiatrist Carl Jung, the sea symbolizes the personal and the collective unconscious in dream interpretation:^[26]

[Dream] Past the sea shore. The sea breaks into the land, flooding everything. Then the dreamer is sitting on a lonely island.[Estimation] The sea is the symbol of the Collective unconscious, because unfathomed depths lie concealed beneath its reflecting surface.
[Footnote] The sea is a favourite place for the birth of visions (i.due east. invasions past unconscious contents).^[26]

In art [edit]

The sea and ships take been depicted in fine art ranging from simple drawings of dhows on the walls of huts in Lamu^[3] to seascapes by Joseph Turner. The genre of marine art became especially important in the paintings of the Dutch Aureate Age, with works showing the Dutch navy at the peak of its military prowess.^[27] Artists such equally Jan Porcellis, Simon de Vlieger, Jan van de Cappelle, Hendrick Dubbels, Willem van de Velde the Elder and his son, Ludolf Bakhuizen and Reinier Nooms created maritime paintings in a broad variety of styles.^[27] The Japanese artist Katsushika Hokusai created color prints of the moods of the bounding main, including The Slap-up Moving ridge off Kanagawa showing the destructive force of the sea at the same time every bit its ever-changing beauty.^[ane] The 19th century Romantic artist Ivan Aivazovsky created some 6,000 paintings, the majority of which depict the sea.^{[28] [29]}

In literature and film [edit]

Ancient [edit]

The sea has appeared in literature since at least the time of the Aboriginal Greek poet Homer who describes it as the "wine dark sea" (oînops póntos).^[a] In his ballsy poem the Odyssey, written in the 8th century BC,^[33] he describes the 10-year voyage of the Greek hero Odysseus who struggles to render home across the sea after the war with Troy described in the Iliad. His wandering voyage takes him from one strange and unsafe country to some other, experiencing amidst other maritime hazards shipwreck, the body of water-monster Scylla, the whirlpool Charybdis and the island Ogygia of the delightful nymph Calypso.^[34]

The soldier Xenophon, in his Anabasis, told how he witnessed the roaming x,000 Greeks, lost in enemy territory, seeing the Black Sea from Mountain Theches, after participating in Cyrus the Younger's failed march against the Persian Empire in 401 BC.^[35] The 10,000 joyfully shouted "Thálatta! Thálatta! "(Greek: Θάλαττα! θάλαττα! ) — "The Sea! The Bounding main!"^[30] The famous^[30] shout has come to symbolise victory, national freedom, triumph over hardship, and more romantically the "longing for a render to the primal sea."^[36]

The sea is a recurring theme in the Haiku poems of the leading Japanese Edo period poet Matsuo Bashō (松尾 芭蕉) (1644–1694).^[37]

Ptolemy, writing in his Geographia in about 150 AD, described how the Atlantic Sea and Indian Ocean were groovy enclosed seas and believed that a vessel venturing into the Atlantic would soon reach the countries of the E. His map of the so known globe was remarkably accurate but from the fourth century onwards, civilisation suffered a setback at the hands of barbarian invaders and knowledge of geography took a astern step. In the seventh century, Isidore of Seville produced a "bicycle map" in which Asia, Africa and Europe were bundled similar segments in an orange, separated by the "Mare Mediterranean", "Nilus" and "Tanais" and surrounded past "Oceanus". It was not until the fifteenth century that Ptolemy'south maps were used again and Henry the Navigator of Portugal initiated ocean exploration and maritime inquiry. Encouraged by him, Portuguese navigators explored, mapped and charted the westward coast of Africa and the Eastern Atlantic and this noesis prepared the way for the great voyages of exploration that were to follow.^[38]

Medieval [edit]

Saint Brendan and the whale. German language manuscript, c 1460

Medieval literature offers rich encounters with the sea, as in the well-known romance of Tristan and The Voyage of Saint Brendan. The sea acts as an arbiter of good and evil and the bulwark of fate, as in the mercantilist fifteenth-century verse form The Libelle of Englyshe Polycye. Medieval romances oftentimes ascribe a prominent part to the sea. The originally Mediterranean family of Apollonius of Tyre romances use the Odyssean format of the extended sea voyage. The story may have influenced Guillaume Roi d'Angleterre and Chaucer'southward The Man of Constabulary's Tale. Other romances, such as the Romance of Horn, the Conte del Graal of Chrétien de Troyes, Partonopeu de Blois or the Tristan legend use the sea as a structural characteristic and source of motifs: setting adrift, mythical islands, and self-propelled ships. Some of these maritime motifs appear in the lais of Marie de France.^{[39] [forty] [41]} Many religious works written in the Middle Ages reflect on the sea. The austere sea desert (heremum in oceano) appears in Adomnán's Life of Columba or The Voyage of Saint Brendan, an entirely seaborne tale cognate with the Irish immram or maritime pilgrimage tale.^[b] The Former English poem The Seafarer has a similar background. Sermons sometimes speak of the ocean of the earth and the ship of the Church building, and moralistic interpretations of shipwreck and floods. These motifs in chronicles such as the Chronica majora of Matthew Paris, and Adam of Bremen's History of the Archbishops of Hamburg-Bremen. Like motives are treated in Biblical paraphrases, e.g. the anonymous Center English poem Patience, and pilgrimage narratives and poems such as The Volume of Margery Kempe, Saewulf'southward Voyage, The Pilgrims' Body of water Voyage. Marian devotion created prayers to Mary as the Star of the Sea (stella maris), both as lyrics and as features in larger works similar John Gower's Vox Clamantis.^{[39] [40]}

Early on mod [edit]

William Shakespeare makes frequent and complex use of mentions of the sea and things associated with it.^[42] The following, from Ariel's Song in Act I, Scene 2 of The Tempest, is felt to be "wonderfully evocative", indicating a "profound transformation":^[43]

Full fathom five thy father lies:
Of his bones are coral made:
Those are pearls that were his eyes:
Nothing of him that doth fade
But doth endure a sea-change
Into something rich and foreign.

Other early modernistic authors to have made use of the cultural associations of the sea include John Milton in his poem Lycidas (1637), Andrew Marvell in his Bermudas (1650) and Edmund Waller in his The Battle of the Summer Islands (1645). The scholar Steven Mentz argues that "the oceans .. figure the boundaries of human transgression; they function symbolically as places in the world into which mortal bodies cannot safely go".^[44] In Mentz's view, the European exploration of the oceans in the fifteenth century caused a shift in the meanings of the sea. Whereas a garden symbolised happy coexistence with nature, life was threatened at ocean: the body of water counterbalanced the purely pastoral.^[44]

Mod [edit]

In mod times, the novelist Joseph Conrad wrote several sea-inspired books including Lord Jim and The Nigger of the 'Narcissus' which drew on his feel equally a helm in the merchant navy.^[45] The American novelist Herman Wouk writes that "Nobody, but nobody, could write most storms at body of water like Conrad".^[46] One of Wouk's own marine novels, The Caine Wildcat (1952), won the Pulitzer Prize.^[47] Herman Melville's 1851 novel Moby-Dick was described by the poet John Masefield as speaking "the whole secret of the bounding main".^[48]

A big seabird, the albatross, played a central function in Samuel Taylor Coleridge'due south influential 1798 poem The Rime of the Ancient Mariner, which in turn gave rising to the usage of albatross every bit metaphor for a burden.^[49] In his 1902 poem The Sea and the Hills, Rudyard Kipling expresses the urge for the sea, and uses alliteration^[l] to advise the sea's audio and rhythms:^[51] "Who hath desired the Body of water?—the sight of salt h2o unbounded— The heave and the halt and the hurl and the crash of the comber wind-hounded?"^[52] John Masefield also felt the pull of the sea in his Body of water Fever, writing "I must become down to the seas once more, to the alone sea and the sky."^[53] The Argentine Jorge Luis Borges wrote the 1964 poem El mar (The Sea), treating it equally something that constantly regenerates the world and the people who contemplate it, and that is very close to the essence of existence human.^[54]

Numerous books and films have taken war at sea as their field of study, oft dealing with real or fictionalised incidents in the 2d World War. Nicholas Monsarrat'due south 1951 novel The Roughshod Body of water follows the lives of a group of Majestic Navy sailors fighting the Battle of the Atlantic during World War Ii;^[55] it was made into a 1952 film of the same proper noun.^[56] The novelist Herman Wouk, reviewing "5 best nautical yarns", writes that "The Cruel Body of water was a major best seller and became a hit movie starring Jack Hawkins. Its actuality is unmistakable ... His description of a torpedoed crew, terrified, clinging to life rafts in the blackest of nights, is, indeed, as well authoritative for comfort—we soon feel ourselves in that bounding main."^[46] Anthony Asquith used a dramatised documentary style in his 1943 film We Swoop at Dawn, while Noël Coward and David Lean's 1942 In Which We Serve combined information with drama. Pat Jackson's 1944 Western Approaches was, unusually for the time, shot in Technicolor, at sea in rough weather and sometimes actually in battle. Michael Powell and Emeric Pressburger'due south 1956 The Battle of the River Plate tells a tale of "gentlemanly gallantry"^[57] of the scuttling of the Admiral Graf Spee. A very dissimilar message, of "duplicitous affairs [and] flawed intelligence"^[57] is the theme of Richard Fleischer, Toshio Masuda and Kinji Fukasaku's $22 million ballsy Tora! Tora! Tora! (1970). Depicting an earlier era of naval warfare in the historic period of sail, Peter Weir's 2003 Principal and Commander: The Far Side of the World, based on Patrick O'Brian'south serial of Aubrey-Maturin novels.^[57]

Submarine films like Robert Wise's 1958 Run Silent, Run Deep ^[57] constitute a distinctive subgenre of the war film, depicting the stress of submarine warfare. The genre makes distinctive use of the soundtrack, which attempts to bring abode the emotional and dramatic nature of conflict under the sea. For example, in the 1981 Das Boot, the sound design works together with the hours-long motion-picture show format to depict lengthy pursuit with depth charges and the many times repeated ping of sonar, too as the threatening sounds of a destroyer's propeller and of an approaching torpedo.^[58]

In music [edit]

A sailor's work was hard in the days of sail. When off duty, many sailors played musical instruments or joined in unison to sing folksongs such equally the mid-eighteenth century carol The Mermaid, a song which expressed the sailors' superstition that seeing a mermaid foretold a shipwreck.^[59] When on duty, there were many repetitive tasks, such equally turning the capstan to raise the ballast and heaving on ropes to raise and lower the sails. To synchronise the crew's efforts, body of water shanties were sung, with a lead singer performing the verse and the sailors joining in the chorus.^[60] In the Royal Navy in Nelson'southward time, these work songs were banned, beingness replaced past the notes of a fife or fiddle, or the recitation of numbers.^[61]

The sea has inspired much music over the centuries. In Oman, Fanun Al Bahr (Sea Music) is played by an ensemble with kaser, rahmani and msindo drums, s'hal cymbals, tassa tin drums, and mismar bagpipes; the piece chosen Galfat Shobani plays through the work of renewing the caulking of a wooden send.^[62] Richard Wagner stated that his 1843 opera The Flight Dutchman ^[63] was inspired by a memorable sea crossing from Riga to London, his ship being delayed in the Norwegian fjords at Tvedestrand for two weeks by storms.^[64] The French composer Claude Debussy'south 1903–05 piece of work La mer (The Body of water), completed at Eastbourne on the English Channel coast, evokes the sea with "a multitude of water figurations".^[65] Other works composed at well-nigh this time include Charles Villiers Stanford'south Songs of the Sea (1904) and Songs of the Fleet (1910), Edward Elgar'due south Sea Pictures (1899) and Ralph Vaughan Williams' choral work, A Body of water Symphony (1903–1909).^[66] The English language composer Frank Bridge wrote an orchestral suite chosen The Sea in 1911, also completed at Eastbourne.^[67] Four Sea Interludes (1945) is an orchestral suite by Benjamin Britten that forms part of his opera Peter Grimes.^[68]

Human cargo [edit]

Humans have gone to bounding main also for the specific purpose of transporting other humans. This has included for penal transportation, such as from Great britain to Australia;^[69] the slave merchandise, including the mail-1600 Atlantic slave merchandise from Africa to the Americas;^[seventy] and the ancient exercise of burying at ocean.^[71]

Penal transportation [edit]

From effectually 1600 until the American State of war of Independence, convicts sentenced to "transportation", often for pocket-sized crimes, were carried to America; after that, such convicts were taken to New Southward Wales, in what is now Australia.^{[72] [73]} Some 20% of modern Australians are descended from transported convicts.^[74] The convict era has inspired novels, films, and other cultural works, and it has significantly shaped Australia's national character.^[75]

Atlantic slave trade [edit]

In the Atlantic slave trade, enslaved people, mostly from central and western Africa and normally sold by West Africans to European slave traders, were carried beyond the body of water, mainly to the Americas. The slave trade regularly used the triangular merchandise route from Europe (with manufactured appurtenances) to West Africa and on to the Americas (with slaves), and then back to Europe (with goods such as saccharide).^[76] The South Atlantic and Caribbean area economies depended on a secure supply of labour for agriculture and manufacturing of goods to sell in Europe, and in turn the European economy depended in big part on the profits from the trade.^[77] Some 12 million Africans arrived in the Americas, and many more died on the journey, powerfully influencing the culture of the Americas.^{[78] [79]}

The English language painter J.M.W. Turner exhibited his oil painting Peace – Burial at Sea in 1842.^[80]

Burying at body of water [edit]

The burial of entire or cremated bodies at sea has been practised by countries effectually the globe since ancient times, with instances recorded from the ancient civilisations in Arab republic of egypt, Greece, and Rome.^[71] Practices vary by country and by religion; for instance, the United states allows man remains to exist buried at ocean at least three nautical miles from state, and if the remains are uncremated the water must be at least 600 anxiety deep,^[81] while in Islam burying past lowering a weighted clay vessel into the sea is permitted when a person dies on a ship.^[82]

Footnotes [edit]

1. ^ Since the sea is not usually wine-cherry, this has been taken every bit a poetic formula, but the classicist R. Rutherfurd-Dyer reports that he saw a bounding main under a volcanic ash cloud that was indeed red: "The ash cloud formed an unusually brilliant sunset, reflected in the outgoing tide of the dark estuary. The rich blackish red and oily texture of the water were well-nigh identical to Mavrodaphni. I realized I was looking at precisely that ocean at which Homer'south Achilles looks idon epi oinopa ponton (Ii. 23.143)."^[32]
2. ^ Iii of these have survived: The Voyage of Mael Duin, The Voyage of Snedgus and MacRiagla, and The Voyage of the Húi Corra (Immram curaig Máele Dúin, Immram Snédgus ocus Maic Riagla, and Immram curaig Ua Corra).

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Full general sources [edit]

The following books are useful on many aspects of the topic.

• Cotterell, Arthur, ed. (2000). World Mythology. Parragon. ISBN978-0-7525-3037-6.
• Mack, John (2011). The Sea: A Cultural History. Reaktion Books. ISBN978-one-86189-809-8.
• Raban, Jonathan (1992). The Oxford Book of the Sea. Oxford University Press. ISBN978-0-19-214197-2.
• Stow, Dorrik (2004). Encyclopedia of the Oceans. Oxford University Press. ISBN0-19-860687-7.

External links [edit]

• National Maritime Museum (Greenwich)
• Lecture: The Global Ocean and Human Culture: John Delaney. University of Washington, 2014
• NOAA: National Cultures and the Maritime Heritage Program

askewaund1965.blogspot.com

Source: https://en.wikipedia.org/wiki/Sea_in_culture

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