Cultural Production





Culturalproduction is an intermediation process of creating meaning. It is acircle that addresses the edges of production, product as well asconsumption alike. The circle stimulates queries such as: what isthe origin of artefact? Which legal, economic and political powersrule and control it? How does it prompt the current power affairs insociety? Who consumes and assumes it and for what purpose? Respondingto these questions promotes a cognizance of the diverse forces thatare entailed in shaping culture and which determine the impactsbrought about by cultural productions.&nbsp This paper explores theinfluence of reformation and counter-reformation, the rise of powerof monarchs and scientific revolution on cultural production. Reformation was a rebellion against exploitations and other formsof fraud that was executed by the papacy and the church in Rome. Itbegan in 1531 when Martin Luther, a German Augustinian Monk, pinnedhis 95-point statement on the door of all Saints Church and steered asplitting in Christianity between Protestants and Roman Catholics(Roper, 2006). The Reformation made a drastic change in culturalproduction of art. The church standing within the political order andthe class edifice of Western Europe were irreversibly reformed in thedevelopment of the future middle ages. By the time of reformation,the popes were so engaged in the cultural and political affairs ofItaly including the cultural production that had the little gratitudeof the gravity of the protestant crusade. Scientificrevolution also had a significant impact on the cultural production.Painters such as Caravaggio, Rubens, and Rembrandt, who appealed tothe emotional and dramatic, the corporeal and the remarkable, oughtto be products of the same age as the scientific revolution. The artswere directed towards lucidity and realism so as to increase theunderstanding and toward sensation, for arousing devotion andreligious passion (Roper, 2006). On the other hand, the Council ofTrent in general, preached restriction in design, its yearning topetition to the sentiments of its audience ensued in increasinglyelegant church structural design. This happened so that theundecorated easiness of the Calvinist church, without any art, wouldappear expressively empty beside the ostentatious span of theCatholic Center. Reformation and counter-reformation brought aboutan increased elegant church decoration in the cultural production.The architecture began employing a procedure which used the ceilingsof a variety of Roman churches and palaces in the baroque age to formactive and theatrical spatial effects, commonly referred to asforeshortening. This technique permitted artists to enable theceiling to appear larger than it was in reality. The rise of themonarchs made the artists create illusions of greater space, paintingrepresentations of architectural components such as vaults, positionsor curves, and after that filling the remaining space withforeshortened figures that appear to fly out of the top of the houseinto the skies above (Roper, 2006).

Conclusions Thereare wide effects on cultural production of art caused by reformation,counter-reformation, rise of Monarchs and the scientific revolution. Due to reformation, the church standing within the political orderand the class edifice of Western Europe were irreversibly reformed inthe development of the future middle ages. The arts were directedtowards lucidity and realism so as to increase the understanding andtoward sensation, for arousing devotion and religious passion. Thearchitecture began employing a procedure which used the ceilings of avariety of Roman churches and palaces in the baroque age to formactive and theatrical spatial effects.


Roper,L. (2006). Witch craze: Terror and fantasy in baroque Germany. NewHaven, Conn: Yale University Press.