EKPHRASTIC POEM 1
Ekphrastic poem: Mona Lisa
Figure 1: Mona Lisa
This is an Ekphrastic poem for perhaps the most outstanding works ofpainting in history, Mona Lisa, by Leonardo da Vinci.
Mona Lisa, I can almost guarantee that this is the most yellow offemale complexions. Looking closer, those deep brown eyes reveal asomewhat stern but gentle look into this world (Barolsky, 2010). Yes,the hair, dark brown in color, is a show of womanly gentleness at thetime of her creation. Curving over the top of her head, gentlyflowing over the shoulders to rest on the garment. Her chest, almostbare, but not as revealing, cut by her cleavage. This is one of themost known creations of beauty, which many know of, but fewunderstand.
She gently folds her arms, the right one going over the left one,what a calm posture, one which assures the viewer of the ambience inthe creation (Di Serio, Ibanez & Kloos, 2013). Her elbows arecarefully structured to form a triangle. The whole posture is adeclaration of the calm of the creator himself. Her body is warmlydraped in the brown garment. The cloth is a reflection of the earthlybrowns, of precious stones such as amber and gold, of mysticappearance. These elements are intricately draped over her womanlyfigure. Indeed, a celebration of Mother Nature and her calmness.
Thebackground. Natural, yet mystical, observable, yet almostindescribable. Majestic trees surround the massive water body(McCurdy, 2013). It seems dark, but every detail is visible. Over herright shoulder, perhaps is the most remarkable feature of the art’sscenery, a stream flowing in a wavy direction, emptying into a largerstream. The sky, carefully created not to interfere with the lady’simage and the natural scenery, is reflected by the water down below.Despite the general beauty of every element in the creation, allcolors are muted to ensure that the viewer’s focus is not takenaway from the major element of the art, the mysterious woman (Bohrn,Carbon & Hutzler, 2010).
Theimpeccable motherly figure of the woman stands out with assuringwisdom of conscious (Ardis & Singhal, 2009). All the colors areprudently spread on the canvas, not to lose any single detail of themystic woman. A number of questions arise right from the first fewseconds of viewing. Why the smile? Mona Lisa, what are your eyeslooking into? Perhaps a clue from the lady’s gentle complexion isthat she is at peace with the entire environment (Oouchi, Yamazawa &Secchi, 2010). Perhaps it was the lively mood of the creator at thetime of drawing that the lady is equally amazing. It is justified tosay that there is not enough word choice that can be used to describethis amazing beauty (Yuhas, 2014). What is known for certain is thatit is a creation that will last for several more centuries, perhapsmillenniums to come.
Athousand words describe a picture. However, with Mona Lisa, athousand men would desire to describe the beauty. Her face is theconverging point of earthly beauty. The background is a summarizationof universal mystery (Rodiyah, 2012). The gods would be content withthe scenery, just as man is content with her mystery. The image onthe canvas creates a fanciful and perpetual life. Created centuriesago, preserving the art piece is the only remaining honor. All canagree that the figure is the symbol of modern beauty, beauty with nolimits, and beauty which despite is visible to all, is describable bya few. However, the fact that stands out, is that this is one of themost outstanding works of art in man’s history.
Ardis, P. A.,& Singhal, A. (2009, January). Visual salience metrics for imagein painting. In IS&T/SPIEElectronic Imaging (pp.72571W-72571W). International Society for Optics and Photonics.
Barolsky, P.(2010). WhyMona Lisa smiles and other tales by Vasari.Penn State Press.
Bohrn, I.,Carbon, C. C., & Hutzler, F. (2010). Mona Lisa’ssmile—perception or deception?. Psychologicalscience, 21(3),378-380.
Di Serio, A.,Ibáñez, M. B., & Kloos, C. D. (2013). Impact of an augmentedreality system on students` motivation for a visual artcourse. Computers& Education, 68,586-596.
McCurdy,E. (2013). Themind of Leonardo da Vinci.Courier Corporation.
Oouchi, S.,Yamazawa, K., & Secchi, L. (2010). Reproduction of tactilepaintings for visual impairments utilized three-dimensional modelingsystem and the effect of difference in the painting size on tactileperception. In ComputersHelping People with Special Needs (pp.527-533). Springer Berlin Heidelberg.
Rodiyah, S.(2012). The feminine symbols in and Brown`s the Vinci code.
Yuhas, D.(2014). Visual Pleasures. ScientificAmerican Mind, 25(1),72-73.