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From the first cave paintings, humans have strived to represent their own image. What do we reveal when we depict ourselves?

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In Judaism, Christianity and Islam, the universe is created from nothing by a God of infinite wisdom. Creation myths from other religions see the universe arise from conjuring tricks, sculpture, drunken conflicts, chance or accidents.

“Every culture has a myth of how the earth was made and human life began. It is almost impossible visually to address the question, 'Why are we here?',” said Neil MacGregor, former director of the British Museum and author of the book “Living with the Gods.” “But if a religion has representational art, then Creation will everywhere be a major theme.”

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Even religions without representational art have strived to illustrate Creation. “In Islam, where only the word can be represented, there are beautiful calligraphies of God’s word ‘Be!’, by which Adam, the first human, was given life,” said MacGregor.

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Only later the theoretical divide between nature and culture starts to emerge in the thoughts of certain civilizations. While Western art has long been fascinated with nature, the dominant trends to emerge in Western tradition put humanity and nature in separate spheres.

“Understanding nature and the human relation to it, the world's great religious traditions and traditions of philosophy differ,” explained Karl Kusserow, co-author of the book “Nature’s Nation: American Art and Environment.”

“And many of them, in ways we’re coming to realize, are more ecologically sound and sustainable than the one that the West has evolved.”

“Understanding nature and the human relation to it, the world's great religious traditions and traditions of philosophy differ”

Europeans painted detailed images of natural species to categorise them for science, or else represented them as god-given landscapes -- eternal and unchanging. Meanwhile, Buddhist, Aboriginal Australian and Native American art each depicted humans as part of nature.

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“You’re not just seeing someone’s face and eyes, you’re getting a sense of the whole world, the world in which they operate”

Humans started depicting their own bodies artistically with the very earliest sculptures and paintings, dating back to tens of thousands of years ago.

Yet artists have rarely crossed the line to producing accurate portraits of regular individuals, worthy of standing apart, alongside leaders, saints, and gods.

“In the Venetian Republic, they didn’t allow portraits of individuals in public spaces, because they didn’t want individuals to assert themselves, at the expense of the Republic,” explained James Hall, the author of “The Self-Portrait: A Cultural History.” “There have often been controls of the diffusion of portraiture.”

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European societies traditionally had a preoccupation with the individual and individuality, in contrast with other cultures that emphasize the collective and communal.

But in the greatest self-portraits, we see more than an accurate copy of a person’s appearance, Hall explains. Whether naturalistic or not, we see the material, spiritual and cultural society the artist inhabits, and their place in it.

“The self-portrait becomes the microcosm: those are the most interesting ones,” said Hall. “You’re not just seeing someone’s face and eyes, you’re getting a sense of the whole world, the world in which they operate.”

“Emanating energy and stateliness, those endowed with power are usually depicted in a position above other figures in a scene”

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“The population is easily captured by the impressive image of power,” said Rapelli. While the symbols and artistic language used to project power vary between cultures, many attempt to reflect the sources of legitimate power described by the ancient Greeks: physical strength, popular approbation, wisdom, virtue, and sovereignty. “Emanating energy and stateliness, those endowed with power are usually depicted in a position above other figures in a scene.”

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“Every human culture that has a sense of the divine has felt compelled in one way or another to create form, sometimes as metaphor, sometimes symbol, sometimes -- as in Islamic traditions -- by eschewing mimesis, by favoring abstraction,” said Deborah Lewer, a senior lecturer in the history of art at the University of Glasgow.

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“Every human culture that has a sense of the divine has felt compelled in one way or another to create form”

But depictions of the divine are anything but simple expressions of something beyond humanity. “All these messy things to do with power, wealth and status, are also involved,” explained Lewer.

“If you look at the works of the Italian Renaissance, some of the greatest works of religious art that we admire and feel moved by, would not be there were it not for the desire of their patrons to express their own wealth and power and status. I think they are best seen in many cases as traces of human beings trying to understand the world, the divine, and humanity’s place in it, and that is what many of these works of art are.”

Osiris was the lord of the kingdom of the dead, where he reigned as the greatest of all gods. As in most civilizations, political power and faith mixed in Ancient Egypt. Osiris, the son of the gods Geb (earth) and Nut (sky), was believed to be the first Pharaoh on earth. This provided the divine basis for the pharaohs’ right to rule. Osiris, often represented with a green or black complexion -- colors that signify rebirth and the fertile lands of the Nile -- was worshiped as the fair judge of the afterlife. But this funerary statue would have initially appeared here as shining bronze, said Noëmi Daucé, chief curator at the Louvre Abu Dhabi. “Afterlife is the main preoccupation, and it’s not really ‘afterlife’ but ‘reaching eternity’ and ensuring nothing -- neither your name nor your body -- is affected by death, so that you can reach eternity after this trial facing Osiris.”

Osiris is usually portrayed in a shroud with arms crossed as if in burial, but eyes half open. Ancient Egyptian culture developed funerary rituals of unprecedented originality and complexity. “We try to highlight the connection, the exchanges, the encounters between civilizations. But we try not to underestimate the originality and uniqueness of expression -- artistic and cultural -- of civilizations,” said Daucé.

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In Cambodia, this image of man and naturalistic spirit-beast became a popular symbol. “The representation of royal ornaments emphasises the idea of the Buddha being distinguished from ordinary mortals and reveals him to the faithful as the ruler of the spiritual realm,” write curators. This meter-high sandstone statue bears signs of once having been painted.

Venetian painter Giovanni Bellini depicts Jesus beside his mother, the Virgin Mary, who is seen praying. Although the image depicts the Christian Messiah as a newborn, it is heavily laden with symbolism of his destiny -- dying to redeem humanity for its sins. The infant Jesus’ hand rests on a book, symbolizing his already written fate, and Mary is shown dressed in red, a color traditionally associated with the Passion, the short final period in the life of Jesus before his crucifixion. The image, which invites the viewer to pray, was of a type commonly found in the homes of wealthy Christian adherents during this time.

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Before the arrival of Christian missionaries in the 19th century, the center of any Fijian Village was the burekalou, a temple often built on hills and raised foundations. “The burekalou was usually the grandest dwelling in the village, in many cases even bigger than the chief's house,” according to the Museum of New Zealand. Temples in Fiji were built with tall towers so that priests’ prayers could reach the gods. Portable shrines such as this one were designed as miniaturised versions of the temples, which priests took with them when they travelled. Made from intricately woven coconut fibre, these provided a portable home for spirits to inhabit, so that they could remain close to the priests, who were the only people who provided for them.

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Between the 15th and 18th century Benin became key to the Portuguese and Dutch trade with West Africa in gold and ivory, as well as slaves. The kingdom of Benin stood until 1897, when British imperial forces razed Benin City, then the center of the kingdom, in a punishing attack, which resulted in the loss of thousands of artworks collectively known as the Benin Bronzes. The present Oba and the ethnic Yoruba descendents of Benin have lobbied for years for the return of treasures such as this, which are currently held by the British Museum and institutions across the world.

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In reality, Napoleon did not lead his troops through savage weather at the time of the crossing, but followed them in pleasant spring sunlight, on a mule. David’s depiction quickly became an influential image of French nationalism, with copies appearing on stamps and posters, and signified the re-emergence of France as a European power following the French revolution of 1789-99. The writing at the base places Napoleon’s name next to other European military leaders, famous for leading armies across the same mountain range many centuries before -- Hannibal and Charlemagne -- with the clear intention of telling readers that Napoleon’s conquest marked a new chapter in the legacy of such historic figures, according to Mousseaux.

George Washington was the military commander who led American forces to overthrow British rule in the American War of Independence, later becoming the first President of the United States. In the US, he is considered the Father of the Nation, for his key roles as both a military leader and statesman. This dual role is reflected in this image, which portrays him with one hand cradling the hilt of a sword, the other resting on a legal document. Jean François Charnier, curatorial director of Agence France-Museums, who helped build the Louvre Abu Dhabi’s collection, bought this image to accompany the epic portrait “Napoleon Bonaparte Crossing the Alps,” by Jacques-Louis David. Together they are intended to display the heroic ideal of a new type of leader emerging at the end of the 18th century and beginning of the 19th century: “They’re new men, they no longer belong to the aristocracy,” said Rose-Marie Mousseaux, chief curator at the Louvre Abu Dhabi. “They were chosen, at some point, by the people and they’re part of this new history.”

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French impressionist Paul Gauguin’s painting shows two boys play-fighting in Brittany. The rugged peninsula in the north of France was seen at the time by artists in Gauguin’s circle as a conservatory of ancestral traditions, such as traditional folk wrestling, according to the Musee D’Orsay in Paris. While French cities were undergoing rapid industrialization and change, Gauguin sought out areas he saw as remote, unspoiled, and “savage”, said Juliette Singer, chief curator at the Louvre Abu Dhabi. Gauguin wrote to a friend: “I love Brittany. I find a certain wildness and primitiveness here. When my clogs resound on this granite soil, I hear the dull, matt, powerful tone I seek in my painting.”

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Cuban artist Wifredo Lam was born to a Chinese father and mother with mixed Congolese and Spanish heritage. In his work, we see an even broader range of cultural influences, showing his friendships with European surrealists like Picasso, the mid-century American avant garde, African poets, and fellow Cubans from diverse backgrounds. In his images of nature, Lam painted slave-worked plantations, ancestral African traditions, occult and Catholic beliefs. Lam first visited the island of Martinique in 1941, returning to Cuba full of inspiration from the lush forests and a meeting with poet Aimé Césaire, who encouraged Lam’s artistic exploration of his own African heritage.

In Havana, Lam created a new, Cuban art that reflected both his own background and the Afro-Cuban traditions while challenging the European-dominated Cuban society, said Juliette Singer, chief curator at the Louvre Abu Dhabi. He aimed to “paint the drama of my country, but by thoroughly expressing the Negro spirit”, he wrote: “In this way I could act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters.” “It’s like a tropical vision,” said Singer. “As if the visitor were just a citizen coming from a city, entering into a jungle or a very frightening place. It’s for people to be afraid of the deep black power they can discover in that image.”

Italian sculptor Giuseppe Penone created this sculpture specifically for this space inside the Louvre Abu Dhabi. For decades, the artist’s work has explored the relationship between humans and nature, often casting real trees in metal. This work, a bronze cast of a cherry tree with reflective steel leaves, was commissioned in 2007 and installed below the museum's latticework dome. That way it can reflect light, allowing visitors to experience the seemingly natural, yet clearly artificial texture of the bark-like bronze.

It forms one part of a bigger work called Germination, which also includes a human fingerprint drawn in concentric circles, like tree-rings. “It has this tension between nature and culture,” said Juliette Singer, chief curator at the Louvre Abu Dhabi. “The word ‘germination’ means to have life from nothing. So it’s a symbol of life, shared universally by all cultures, as the artist says. It’s something very beautiful and it was another symbol for the birth of the new museum: growing like knowledge and going toward the light.”

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In “My Nurse and I”, the mask covers the face of a woman who breastfeeds a baby Kahlo, making reference to the artist’s indigenous heritage. The Mexican mask ended up influencing the development of the surrealist aesthetic when Rivera gave it to the surrealist artist André Breton. Curators at the Louvre Abu Dhabi hope to emphasize the sometimes-overlooked quality of pre-Columbian artistic output: “It highlights the huge quality of artistic production in Teotihuacan civilization that was on the same level as the Han Empire or the Roman Empire,” said Daucé.

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French artist Yves Klein’s “Anthropometries” (1960s), were landmark performances in 20th-century art. Klein used the bodies of models as “living paintbrushes,” guiding them to create monochrome paintings in a particular pigment he had patented, known as International Klein Blue. “The body and the soul is one in a print,” said Rotraut Klein-Moquay, Klein’s wife and collaborator. Klein directed his performances in bow tie and jacket, serving blue cocktails and conducting an orchestra to perform his “Monotone-Silence Symphony” (a D major chord played for 20 minutes, followed by 20 minutes of silence).

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Japanese artist Kazuo Shiraga painted this image using his feet dipped in oil paints, suspended over the painting. “That allowed him to put all his energy, that vital force into that painting,” said Juliette Singer, chief curator at the Louvre Abu Dhabi. In the 1960s, many artists, including Yves Klein, were also experimenting with using the body as a paintbrush. Yet Shiraga prefigured many Western peers. He was a member of Japan’s Gutai (“concrete” art) movement, founded in 1956, which explored contact, often brutal, between the artist’s body and the material.

In this work, he achieved an intense expression of his own body and “spiritual energy,” using vivid color and violent movement to capture “all of his action and energy in his work,” said Singer. Across many cultures, this combination of red and black has associations with danger and violence. Shiraga, who was not internationally recognized until after his death, saw the performance of his painting as integral to the work. “I want to paint as though rushing around a battlefield, exerting myself to collapse from exhaustion,” he wrote in 1955.

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Each of the Abrahamic religions -- Judaisim, Christianity and Islam -- make explicit links between God, creation and light. A powerful set of symbolic events in religious texts involve light communicating divinity and revelation. This begins with the Creation, in the book of Genesis (part of both the Torah and Bible), which is announced with God’s statement: “Let there be light.” In the Islamic world, particular importance is attached to light as one of the 99 names of Allah, “al-Nur”, explains the Louvre Abu Dhabi. Each of these religions have developed objects and artworks that reflect this symbolism, including the Jewish Menorah and Christian stained glass windows. In Islam, mosque lamps were produced in great numbers in the 13th and 14th Centuries to illuminate mosques and religious complexes, explain curators. “The glass that is used for this mosque lamp is also used for the stained glass of the Christians,” said Guilhem André, chief curator at the Louvre Abu Dhabi.

Both glass and glass-working techniques passed along trade routes: “Since the early period, glass is also a good that was very much traded between civilizations.” This lamp, around 25 cm tall and produced by Syrian or Egyptian glassworkers, was originally scattered with gold dust to produce a sparkling light, to represent the divine light that Allah, the creator of everything in existence according to Islam, shines on the universe. The enamelled glass bears the name of its donor, Emir Tankizbugha, a senior royal official.

In Sanskrit, the word “bindu” means dot. For Paris-based Indian artist Sayed Haider Raza, whose work draws on both European and South Asian art history, the bindu is a versatile motif with meanings derived from Hinduism -- representing life and the seed of creation -- as well as appearing as a great void or geometric motif in abstract art. “Bindu could look very simple -- that black dot. But it is almost something perfect: it has that connection to the cosmos, to birth, to the very end, death,” said Juliette Singer, chief curator at the Louvre Abu Dhabi. “The simple circle becomes something totally open, very enigmatic, but also familiar. When you look at it you have the feeling that it's coming towards your eyes, and you’re floating in the cosmos and time.”

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“It is very poetic and very moving,” said Juliette Singer, chief curator at the Louvre Abu Dhabi. “Inscribing messages in stone raises the question of what information and messages we are transmitting to the next generation,” said Singer, “and the languages speak of a dialogue between communities. It can also be an allegory for the museum itself, coming from antiquity until now. It’s like we have a direct bridge between times, between continents.”

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