Funerary monument in the context of Taj Mahal


Funerary monument in the context of Taj Mahal

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⭐ Core Definition: Funerary monument

Funerary art is any work of art forming, or placed in, a repository for the remains of the dead. The term encompasses a wide variety of forms, including cenotaphs ("empty tombs"), tomb-like monuments which do not contain human remains, and communal memorials to the dead, such as war memorials, which may or may not contain remains, and a range of prehistoric megalithic constructs. Funerary art may serve many cultural functions. It can play a role in burial rites, serve as an article for use by the dead in the afterlife, and celebrate the life and accomplishments of the dead, whether as part of kinship-centred practices of ancestor veneration or as a publicly directed dynastic display. It can also function as a reminder of the mortality of humankind, as an expression of cultural values and roles, and help to propitiate the spirits of the dead, maintaining their benevolence and preventing their unwelcome intrusion into the lives of the living.

The deposit of objects with an apparent aesthetic intention is found in almost all cultures – Hindu culture, which has little, is a notable exception. Many of the best-known artistic creations of past cultures – from the Egyptian pyramids and the Tutankhamun treasure, to the Terracotta Army surrounding the tomb of Qin Shi Huang, the Mausoleum of Halicarnassus, the Sutton Hoo ship burial and the Taj Mahal – are tombs or objects found in and around them. In most instances, specialized funeral art was produced for the powerful and wealthy, although the burials of ordinary people might include simple monuments and grave goods, usually from their possessions.

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Funerary monument in the context of Grave with the Hands

The Grave with the Hands (Dutch: Graf met de handjes, lit.'Grave with the little hands') is a 19th-century funerary monument in the Dutch city of Roermond. It comprises two almost identical tombstones on either side of a wall separating the Catholic part from the Protestant part of Begraafplaats Nabij de Kapel in 't Zand (Cemetery Near the Chapel in the Sand), each with a carved arm and hand that clasps the other across the wall. The monument marks the graves of Josephina van Aefferden, a Catholic, and Jacobus van Gorkum, a Protestant, who were married in life, but had to be buried in separate sections of the cemetery. It was listed as a rijksmonument (state monument) in 2002.

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Funerary monument in the context of Gerard Johnson (sculptor)

Gerard Johnson Jr. (Dutch: Gheerart Janssen; fl. 1612–1623) was a sculptor working in Jacobean England who is traditionally supposed to have created Shakespeare's funerary monument (although this attribution has more recently been challenged). In May 1612 Johnson was paid for making part of a fountain for the east garden at Hatfield House, Hertfordshire.

His father, then known as Gheerart Janssen, came to England in 1567 from Holland. He established himself as a sculptor of funerary monuments in London. Gerard the elder worked on a monument to the 1st Earl of Southampton, which also depicts Shakespeare's patron, the 3rd Earl, as a young man. Shakespeare would probably have seen the monument if he had stayed at Titchfield.

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Funerary monument in the context of Temple of the Inscriptions

The Temple of the Inscriptions (Classic Maya: Bʼolon Yej Teʼ Naah (Mayan pronunciation: [ɓolon jex teʔ naːh]) "House of the Nine Sharpened Spears") is the largest Mesoamerican stepped pyramid structure at the pre-Columbian Maya civilization site of Palenque, located in the modern-day state of Chiapas, Mexico. The structure was specifically built as the funerary monument for Kʼinich Janaabʼ Pakal, ajaw or ruler of Palenque in the 7th century, whose reign over the polity lasted almost 70 years. Construction of this monument commenced in the last decade of his life, and was completed by his son and successor Kʼinich Kan Bahlam II. Within Palenque, the Temple of the Inscriptions is located in an area known as the Temple of the Inscriptions’ Court and stands at a right angle to the southeast of the palace. The Temple of the Inscriptions has been significant in the study of the ancient Maya, owing to the extraordinary sample of hieroglyphic text found on the Inscription Tablets, the impressive sculptural panels on the piers of the building, and the finds inside the tomb of Pakal.

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