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Question: Discuss about the The Relation between what we see and what we know is never settled. Answer: The relation between what we see and what we know is never settled. As quoted by John Berger in his book Ways of seeing conceptualizes the fact that seeing usually comes before words. Each evening humans perceive sun setting in the west knowing that Earth turns away from the Sun[1]. However, the explanation and knowledge does not fit the sight perceived. Words that we speak are just mere attempts to set the message at right track despite the fact that the relation between perception and knowledge are not quite similar. John Bergers statement has been hence analyzed that helps in connecting the textual as well as visual perception providing adequate justification. John Berger stated that fashion, trends and attitudes changes along with perception hence words cannot define something abstract such as love[2]. Hence, words come after visuals and therefore models are usually constructed from assumptions as they provide a hint and insight towards reality. An image always conveys a message which when written in words are often not described in a perfect manner that has been felt through visualization of the image. For example if we see an image full of Romans piercing Jesus Christs heart with the spear of destiny, no matter how hard an author tries to describe the pain and suffering Jesus bore for the sin of humanity, it remains nondescript which can only be felt through perceiving the image with emotions. The relation between what is seen and what is known is a never ending dispute which clearly seen by the Sun which is seen to be rising at East and setting at West[3]. However, that thing which science has proven is that Earth moves around the Sun and hence there is a dispute. Another issue arises when a transgender is seen dressing in a feminine costume that often confuses people regarding the feminism perceived and character biology known[4]. Evidence and reasons provided by John Berger includes perceiving an art from the past that provides the opportunity to place oneself into the history. Men and women having different social presence are evaluated based on their degree of power. The power evaluated is measured against physical, moral and economical context. This is evident in the European oil painting The Nude that features illustration of Adam and Eve. Old Testament provides evidence that after Adam and Eve ate the apple provoked by Satan from the tree of wisdom; they looked at each other and realized they were naked. Previously they were unaware of being naked thus providing evidence that knowledge fuels perception. Key of dreams is also provided as an evidence by John Berger that there is a gap between seeing and knowledge. Berger further provides the example of fire that was worshipped by the Zoroastrians and Hindus in ancient Yazd and India however in Middle Ages until now it has served various purpose like develo pment of steam engine, industries and cooking. In addition, fire is also considered as a destroying element that causes hazards. The argument presented by Berger is a strong one as people only believe in what they think is right to believe. It is stated that the presence of women culturally is very much different compared to that of men where male presence highlights ability and power[5]. However, presence of a woman shows the process that can be done to her without herself. It is reckoned that women are present to take care of men and were aware as well as self-conscious of their presence at such times. If a nude woman appears on a picture, often men look at her and admires her beauty, few men are sexually aroused by the view while some other simply perceive the picture as a representation of the artists character[6]. The first image, which has been considered for analysis, is the world-renowned fresco by Masaccio The Tribute Money. The scene depicted in the fresco is drawn from Matthew 17:24-27 where a group of Pharisees tries to set up Christ (PBUH) in incriminating himself through asking a question whether they should give tribute to Caesar as the coin has an image of Caesar on it. However, Christ (PBUH) replies that Caesar should be rendered of the things that belonged to him and God should be rendered that belongs to God. Figure 1: The tribute money (Source: assignment question first image) The fresco depicts money from fishs mouth, which depicts Florences wealth coming from sea however, it is not possible to analyze from our knowledge that wealth can come from sea especially from fishs mouth[7]. Few of the disciples that could be understood from the image involve Peter with the iconic beard and grey hair along with yellow and blue attire. John can also be identified as the beardless man standing next to Christ (PBUH). The disciple with darker face is identified as Judas, which might not be the case as it depicts racism. Figure 2: The banquet of Cleopatra (Source: assignment question second image) Second image which has been analyzed is the The banquet of Cleopatra by Giovanni Battista Tiepolo. It shows Cleopatra in a Victorian era costume with Antony the Roman in traditional Roman attire. Other slaves and entertainers are also depicted in Victorian era costumes. Few of the people in the image appear in a Semitic appearance with beards and turban. The utensils are not Egyptian arts and the architecture is a Graeco-roman banquet hall. Hence, it is rather Antonys banquet hall instead of Cleopatras banquet hall. Common knowledge also portrays that Cleopatra is not wearing traditional Egyptian clothes rather wearing Victorian era clothes that clearly leads to a gap of knowledge. It can be concluded that the gap between what we see and what we know always persists due to the knowledge portrayed by the image is inadequate and hence cannot be judged precisely. For example, the image of Victorian era painting simply portrays a courtroom banquet of Cleopatra where the background and the details of the painting lack Egyptian taste. Further The Tribute Money also shows that there is a knowledge gap between the portrayal of Judas and Masaccio himself and the portrayal of the image from Matthew 17:24-27. References Berger, John.About looking. Bloomsbury Publishing, 2015. Berger, John.And our faces, my heart, brief as photos. Bloomsbury Publishing, 2014. Berger, John.Ways of seeing. UK: Penguin, 2008 Berger, John.Ways of seeing. UK: Penguin, 2008. Berger, John.Ways of seeing. UK: Penguin, 2008. Berger, John.About looking. Bloomsbury Publishing, 2015. Berger, John.Ways of seeing. UK: Penguin, 2008. Berger, John.And our faces, my heart, brief as photos. Bloomsbury Publishing, 2014. Berger, John.Ways of seeing. UK: Penguin, 2008. Berger, John.And our faces, my heart, brief as photos. Bloomsbury Publishing, 2014. Berger, John.Ways of seeing. UK: Penguin, 2008.