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Hieronymus Bosch, painter religious

Of the various interpretations that have gradually seen the paintings of Hieronymus Bosch the product of an eccentric inventor of monsters and chimeras, the result of wonderful and unique patterns more repugnant than pleasant, the reflection of esoteric practices inspired by the heretical movements devoted to alchemy and witchcraft, or, in more recent times, the depiction of the most disturbing forms arised from the depths of the unconscious, then by the great Flemish painter, a kind of anachronistic follower of Surrealism and even of the psychoanalytic theories of Freud, had already justice done, if we see, the English priest Fray Jose de Siguença, the which, in 1605, stated that if other artists depicted the man as ever, Bosch had had the audacity to paint it as it is internally bringing to light, we must add, the tangle of good and evil in man to sublimate it into high poetry and create one of the most charming views of European painting.

The mentality was that Bosch's common to men of his time, that autumn of the Middle Ages in which the terror of the Apocalypse was still present and I live in the conscience, and il suo universo catastrofico e convulso si alimenta interamente delle ansie e delle angosce di quell’epoca. Lo sgomento della fine del mondo e del Giudizio Divino si rispecchia nella proliferante selva di ossessioni e simbologie mistiche e infernali, coi suoi risvolti di orrore per il peccato e di anelito all’ascesi, che appare nel cosmo urlato e straziato del pittore, in cui l’ordine delle cose è scardinato e sconvolto e dove si assiste ad orrende metamorfosi e ad oscene congiunzioni. La flora e la fauna, antropomorfizzate e talvolta metalizzate, ridotte comunque a forme aliene e inquietanti, braccano un’umanità spaventata e derelitta, quando non sono gli stessi diavoli ad afferrarla e punirla mentre è dedita solace to the most vile, or any kind of violence, and could not fly in the skies sulfur birds but wild fish swim and sail boats threatening.

We moderns have forgotten the fantastic and symbolic language of the past and that is why we can not easily understand the world of Hieronymus Bosch, to the point that some, in recent times, have gone so far as to feel it the result of a condition caused by taking hallucinatory drugs, possibly because contemporary poverty of imagination, the imagination can conceive only associated with the disruption the mind and senses corresponding to the so-called state of trance produced by drugs. Instead that was easily accessible to the contemporary world of the painter in his time because the reality was visible for all symbols and images often hyperbolic, and it was a reality of religious feeling nurtured very strong and almost violent, where the sense of implacable struggle between good and evil, between God and Satan was reflected in a deadlock between the strong uncompromising sensuality and mysticism of the Flemings. At that time preachers visionary represented the sins with the image of animals with horrible genitalia, from which flowed streams of fire and brimstone, the men led a relentless attack on the esoteric and magical practices (which, incidentally, eliminates any possibility of a Bosch dedicated to witchcraft, because his clients were always members of the clergy or religious factions, one of which, moreover, he belonged ), storyteller and towels used by acrobats who appeared before the crowds showed a taste for the grotesque and the monstrous was supposed goats and donkeys able to sing, wolves intent on playing the flute, birds fly away from the mouths of dragons and men vomited from the belly of the whale as it did in the days of Jonah in the Bible: the same images born from the imagination of Bosch, in short, except that he was able to translate everything in great painting, of a richness and subtlety of colors ed'una formal objectivity that gives these fantasies, then as now, a wonderful truth that, while impressive and alarming, seduce, and often enchanting.

On the other hand never failed to Bosch's capacity for accurate observation and realistic humanity in a way that could be observed in daily crowds of cripples and beggars who roamed everywhere, and find inspiration in order to represent their faces that appeared often grotesque and repulsive if only for the early toothless mouths, because at the time the dentistry was not even started the first steps. We see, for example, in the table of Christ carries the cross , a set of faces in the foreground and most vociferous imbestiate, cruel attitudes grimaces and grins, and where only Christ and Veronica who wiped his face has just been imprinted in the cloth retain human features and painful.

Mind you, this world is so distorted and not at all reassuring is not free, not if we examine the surface of the volcanic production bosciana, a hint of irony or sarcasm, not because the careful eye can escape in his work, the delight in giving substance to a phantasmagorical universe and surprising, il piacere di confezionare una pittura con estrema sapienza e perizia, e la ilare vivacità di spirito d’un artefice che, mentre ammonisce i suoi simili a temere il giudizio dell’Altissimo, non disdegna di sciorinare davanti ai loro occhi, col gesto sornione del prestidigitatore, i frutti multicolori del suo ingegno e di abbagliarli con la magia della sua prodigiosa fantasia. Basta guardare, per capirlo, i grandi trittici bosciani che il tempo ci ha restituiti intatti (perché si sa che, purtroppo, buona parte della produzione di questo artista è andata distrutta o perduta), primo fra tutti quel Giardino delle delizie che, volendo raffigurare e stigmatizzare la lussuria, appare come una vera e propria festa di colori and images where the eye is lost ito stunned and charmed, and where, especially in the central panel, you can breathe, yes, erotic atmosphere and a widespread sense of sensuality, it is populated by an infinite number of nudes male and female, but so icy and goticizzati to make it completely asexual and, attitudes in various poses alluding to the sexual act (as when biting together huge strawberries or cherries surround themselves with symbols of carnal pleasure, while they are observed by robins representing lust and owls that refer to the sin of lust) appear purified from any suspicion of disease. The side panel on the left is a glimpse of the Garden of Eden to Adam and Eve next to the Creator in benign attitude, while the animals already in the foreground are addicted to violence and threatening landscape surrounded by mountains behind them unnatural, and the strange plant-fountain I zza way between a reptile and a coral inside which still lurks the owl, clearly allude to the next expulsion. In the panel on the right, meanwhile, is now dark and fetid air of hell, with murmurs of a glowing fire and the representation of the various tortures that exposes the unbridled lust, as being possessed by a pig or torn to pieces by dogs, while on the whole dominates the mysterious figure Human tree with the phallic symbol of the bagpipe head and round belly that might be alluding to the heresy primordial egg from which we sprung us humans at the dawn of time, houses a tavern in which a person climbs on his ass pierced by an arrow.

not chase the endless inventiveness bosciana except to say again that, in both large-scale works, both in the tables of medium and small scale, the chromatic beauty and happiness that always allows the layout of the scenes, even where the plant appears monumental, the reading of every minute detail, often reaches heights of painterly virtuosity that rivals, if not exceeds, the unbridled imagination of the artist charged. Perhaps from the point of view of the purely pictorial, first place goes, of all others, the triptych of 'Epiphany , who kidnaps especially for the beauty of the details, like her dress valuable Melchiorre with spiny acanthus that decorate the collar and the shoulder, the second king of the mantle with ornate friezes representing episodes from the Bible, the gifts of the three magi carefully chiseled and the quiet solemnity of the landscape with a pale blond in the background the city, bristling with towers fantastic. At first glance, a quiet, almost idyllic scene, but, again, to remind us that the salvation of the soul is difficult to achieve and even the coming of the Savior is enough to redeem man from his hardness of heart and the inclination to violence and sin, the landscape seems clear path by armies on the march towards war and the nativity scene, so familiar serene is marred by the presence of malignant and suspicious-looking shepherds who keep the Adoration of the Magi with boldness and suspicion, while the door of the old hut peeps a bizarre character half naked and left full of gold trinkets barbaric, a clear symbol of paganism that will be hard to eradicate.

Dionisio

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Beyond, Nekyia, Inferno



In the history of literary figures often meet the afterlife, underworld, or hell (among them distinct concepts), used as narrative pretext. The idea that one gets is not uniform, it has several connotations and cultural stratification. In Western literature is a Christian afterlife, an afterlife pay traditional home-Mediterranean, a greek-roman, but very often a fusione tra più concezioni, altre volte contaminazione con altre idee, dallo Sheol ebraico all'Ade, da un'idea di Inferno non come luogo di pena ma semplicemente come dimora dei morti, a un'idea di Inferno di pene astratto o fisico. Differenze ci sono anche nella stessa mistica cristiana in diverse epoche.

"Inferno" è dal lat. "infernus" , "posto in basso", "inferiore", sinonimo di "inferus" . Col termine "inferno" ci si riferisce di solito solo alle 3 rel. monoteiste, invece "inferi" si riferisce a tutte le altre culture pagane antiche e moderne. Nel mondo greco-romano non compare l"Inferno", ma "Inferi"a indicare il sotterraneo "regno dei dead, whose king was the god Hades / Pluto or Dis / Proserpine, hence the name Hades, understood as the realm of the underworld, with the name of God extended to the site. The kingdom of the dead greek-Latin was a physical place , albeit vague and imaginative reach, where to stay shadow, undivided moral merits. Virgil in the Aeneid that will invent a hell of complex topography, dividing the underworld of Tartarus and the Elysian Fields, where there is a moral division between the shadows; Virgilio also invented the 'City of Dis', borrowed from Dante's Comedy.

(William Blake, Dante's Inferno for the table)

Judaism originating in Hell than other cultures takes on new connotations. The principle of evil, Satan, fallen angel, not a god (as in other cultures), but as an angel figure lower than God and he likes that betrays the most powerful man, and was appointed with the appellations of neighboring cultures, as if to emphasize the otherness and danger: Beelzebub (Figure Phoenician), and Hinnom (the Gehenna,) becomes the name of Hell instead of Sheol (the place of the dead underground). Hinnom was originally a pagan place of worship of Moloch, depicted in bronze, below which it opened a furnace where young people were sent to burn human sacrifices.

In the NT greek original text makes a distinction between Hades (meaning the grave) and Gehenna (such as fire, as the Valley of Hinnom), but not always respected in translation is the lexical-conceptual difference. Many, however, the passages in the Gospels where Jesus speaks of hell in person, either directly or using metaphors that are fundamentally very clear ('there shall be wailing and gnashing of teeth', 'the eternal fire') although the precise word, in itself, does not appear in the Bible.

to theology and Christian mysticism after an initial period in which the exegesis was not entirely detached from diverse cultures, including Catholic theology (such as evangelical and orthodox) portrays Hell as a place-no place is more metaphysical than physical, however, very real, far away punishment from God, eternal flame (except cross-modernist heresy that has challenged all the historical articles of faith) as the sacred text explains very well what you mean, but does not give a precise description.

For the hellish journey in literature, can not be apart from Dante, who has informed himself of most of the collective not only Italian, and already here the themes are not suitable for a short post, it will then only fleeting comments. Dante's Inferno is a Christian? depends on what value we give to words. In a way, no way.

For Dante the physical world was divided into two hemispheres, one consisting of land, the other covered by water. Dante mutual these ideas by incomplete knowledge of his time, but not from the Bible, where there is no mention of anything like this: the biblical text gives no indication if the cosmological no measurable universe, but does not say at all that the earth was at the center of the solar system-but this idea was embraced by Ptolemy, Dante, or that it was flat, or immersed in water outside, but the only thing the Bible is affirmed also proved scientifically accurate: Isaiah 40:22 states "He (God) is One who is enthroned above the circle of the Earth" with the term chug (globe, ball) ... and there are other biblical passages that were highlighted sphericity of the planet.

(representation of Dante's Inferno)

back to Dante, hell the conformation of the Commedia is due to advise the rebellion of Lucifer, to his being cast unto the earth from heaven , which Dante era un luogo fisico oltre il sistema di rotazione geocentrico. Nel punto in cui cadde Lucifero, il terreno si sarebbe ritratto per contatto con il demonio, creando così l'enorme imbuto dell'Inferno (dantesco). La porzione di terra ritratta, riemerse nell'emisfero delle acque agli antipodi e formò la Montagna del Purgatorio che si erge dal mare nell'emisfero opposto. Lucifero è per Dante quindi conficcato al centro della Terra, nel punto più lontano da Dio, immerso nel lago sotterraneo Cocito, perennemente ghiacciato a causa del vento freddo prodotto dal continuo movimento delle sue sei ali.

Nella Bibbia gli unici punti solo in parte in comune con la visione dantesca sono in Apocalisse, the chained figure of the Dragon for 1000 years by the Archangel Michael and the fall of the rebel angels in Ezekiel, however, very different from the Comedy.

Always in Comedy, but many are demons or monsters mentioned by Dante, some of his own invention, other sources for the most part mythological greek-roman. Minos, the Minotaur, sad boatman Charon, the Centaurs, Harpies, the Furies, Cerberus ... in this purely medieval poet Dante is revealed. Undoubtedly the most imaginative part of the exegete to the School of St. Bonaventure, St. Thomas Aquinas, Albertus Magnus and many fathers have revised some previous classical figures in a symbolic key. Other sources are the stories of Dante troubadour, the Chanson de Geste.

In this light comedy and should be located as the culmination of the medieval tradition as the highest literary outcome of the time, but also its end. But when Dante composed of comedy has a long tradition of travel to the underworld, with the common origin of the narrative pretext of Nekyia, already in Homer and Virgil. It should be allowed to start considering the Comedy as a meeting of very different codes, and not just as 'Christian poem' as is sometimes done, because in the strictly theological sense, it is not, but rather aims to be an encyclopedic Summa, yes longing to cento medieval art, the summary of all the culture of the time.

(Gustave Dore, engraving)


Nekyia , from the greek νέκυια (from νέκυς , arc. νεκρός of "dead") was among the Greeks the ancient rite (necromatico fact) with which evoked the dead for divination . In the eleventh part of the Odyssey, Odysseus tells how he reached Hades to question the seer Tiresias and conoscere la propria sorte: i morti sono presentati come ombre mute che per parlare, quindi per riacquistare una parvenza di vita, devono abbeverarsi con il sangue. Ulisse allora compie un sacrificio rituale, raccoglie il sangue delle vittime, e mentre le ombre assetate gli si fanno intorno come vampiri, si difende con la spada; terrà gli spiriti lontani durante l'incontro con un compagno morto, poi quando interrogherà l'ombra di Tiresia, infine quando parlerà con la propria madre; solo a questo punto concederà agli altri morti di bere il sangue e dunque di raccontare la loro storia.

Nel Libro VI dell'Eneide Virgilio segue in buona parte la narrazione di Homer: Even in the afterlife Aeneas meets a dead comrade, defends himself with a sword (but from the monsters of hell, not thirsty souls), tries in vain to embrace Ulysses as a shadow. With his description of the underworld, the Hades, Virgil, in spirit line between paganism and Roman Catholicism-greek, Virgil makes his belief in reincarnation in some way associated with the afterlife and yet the dream, the decisive factor for the later medieval tradition: the vestibule of dreams dall'Olmo Averno is shaded rooms, and Aeneas, completed his journey to leave the underworld through the Ivory Gate of Dreams.

Già nei primi secoli del medioevo si diffondono i resoconti di viaggi nell'aldilà in forma di Somnium, i sogni, o di visione, che alla lunga seguono uno schema fisso: il protagonista ha un malore o una febbre alta, resta per ore in uno stato di morte apparente e nel frattempo compie il viaggio nell'aldilà, per poi ritornare tra noi e raccontare. Spettatore più che attore, non scambia parole con le anime dei morti, che sono per lo più figure esemplari o tipi. Questo tipo di narrazione diventa un'abitudine letteraria, e nelle volgarizzazioni viene facilmente accostata al racconto di San Paolo asceso al terzo cielo, o all'Apocalisse di Giovanni, o alle visioni di Daniele. Nel Trecento, quando il brevissimo versetto del "quasi per ignem" paolino di 1 Cor. 3:15 ha già generato nell'immaginazione occidentale la tripartizione geografica dell'aldilà (non affatto esplicita nel testo biblico), Dante, sulla scorta della tradizione ma anche di una patristica a tratti fantasiosa non può che sancire la nascita del Purgatorio, luogo intermedio tra dannazione e beatitudine, più che non renderlo come ipotetico luogo intermedio metaforico e 'a tempo'. Dell'aldilà classico greco-romano ancora in Dante rimangono atmosfera e mostri, di quello medievale rimangono la suddivisione delle pene in base ai peccati, dei premi in base alle virtù, con le contaminazioni pagane più varie.

Other Comedy and influence in medieval literature is the Somnium Scipionis, song of "De Re Publica" of Cicero 54 BC with a strong moral value and imaginative together in this part of the work is of the soul, the premium otherworldly to the large men, in a philosophical-mystical vision of the afterlife according to Roman values. Enormous resonance throughout the Middle Ages. The content is organized as a narrative of Scipio Aemilianus in a dream where his grandfather Scipio Africanus, predicting the future, bearing witness to a vision of the celestial spheres, immortality of the soul.

Otherwise, if the play departs from previous texts in some areas, Purgatory, as the traditional greek roman afterlife, is punctuated by the 7 Deadly Sins, Hell is in three parts. In the first six circles there are incontinent, the violent in the 7th, 8th and 9th of those fraud. For those who insist only on the origin of the afterlife Christian Dante, are opposing some tests. There is no representation made 'a group' Christian biblical afterlife. In addition, the tripartite division of Dante's Inferno back on the one hand Nicomachean Ethics of Aristotle the other to "De Officiis" Cicero, averaged according to the conception of the right and duty through the Corpus Juris Civilis of Justinian: the structure of Dante's Inferno therefore not derived from the terms as commonly understood Jewish or Christian, but is largely suggested by Greek philosophy, Roman law, medieval theories of 'ecumenical'. Continue in fact are the echoes of the underworld journeys are charged, the Odyssey, Dante's known only indirectly through the Latin Vulgate, and the Aeneid, by far one of the texts present a watermark in the Comedy, plus the influence of Apuleius , Argonautica by Apollonius of Rhodes with the theme of the journey, the journey of initiation, transformation of self and soul, from Plotinus and pagan mystery cults themselves.

hero Ulysses in Dante's Inferno in Canto XXVI, è un doppio di Dante, il viaggiatore che ha tentato di raggiungere l'aldilà senza essere assistito dalla Grazia; Virgilio è la guida attraverso i primi 2 regni dell'oltretomba dantesco, poeta pagano, ma visto nel medioevo come fuso con il cristiano. La fede medievale in un unico Dio separa Dante dai predecessori politeisti pagani, pur usando lui tutto il loro bagaglio di temi in una sorta di grande centone enciclopedico delle credenze d'allora, e garantisce ovviamente il successo del suo viaggio, con la complice Beatrice morta e risorta in qualche modo che intercede per lui.

La discesa agli inferi, la visione d'aldilà, l'evocazione dei morti sono (anche) pretesti letterari, di cui qui abbiamo seen a few examples. Become also in the Commedia, as noted, not only a means for the future with more or less magical arts, but also to read this delivered in the afterlife, not without favoritism and personal revenge: this medieval Europe is apparently observed from an eternal perspective, taken at the time of history because it was already submitted to the imaginary God's judgment / filtered by Dante / narrator.

Josh