Triptych Bosch garden terrestrial pleasure to watch. The story of one masterpiece: "Garden of earthly pleasure" Bosch

Art of the Netherlands 15 and 16th centuries
Altar "Sad. earthly pleasures"- the most famous triptych Jerome Boschand who received its name on the subject of the central part, is dedicated to the sin of sweetusty - Luxuria. Hardly Triptych could be in the church as an altar, but all three paintings are generally consistent with other Triptychs of Bosch. Perhaps he fulfilled this work for some small sect confessing " free love". It is this work of Bosch, especially the fragments of the central picture, usually lead as illustrations, it is here a unique creative imagination The artist is fully manifest. The incredit charm of Triptych is how the artist expresses the main idea Through many details. The leader of Triptych is depicted by God representing Eve to the stunned Adam in a serene and peaceful paradise.

In the central part, a series of scenes, differently interpreted, depicts a true garden of pleasures, where mysterious figures move with the paradise tranquility. In the right sash, the most terrible and disturbing images of the entire work of Bosch are captured: complex machines for torture and monsters generated by its fantasy. The picture is filled with transparent figures, fantastic facilities, monsters who have acquired flesh by hallucinations, adsk cartoons of reality, to which he is watching the test, extremely sharp look. Some scientists wanted to see in Triptych image of human life through the prism of her vanity and images earth LoveOther - Celebration of Sweetsthey. However, the simplicity and some removal with which individual figures are interpreted, as well as a favorable attitude to this work by church authorities Forced to doubt that its content could be the glorification of bodily pleasures. Federico Dzheri: "The garden of earthly pleasures is an image of Paradise, where the natural order of things is abolished and chaos and creature, leading to people from the path of salvation. This triptych of the Netherlands Masters is the most lyrical and mysterious work: in his symbolic panorama of Christian allegories mixed up With alchemical and esoteric symbols, which gave rise to the most extravagant hypotheses regarding the religious orthodoxy of the artist and his sexual inclinations. "

At first glance, the central part represents almost the only one in the works of Bosch idyll. The extensive space of the garden is filled with naked men and women who are taped with giganic berries and fruits, playing with birds and animals, splashing in water and - first of all - is wrong and shamelessly indulge love Utyuham In all their diversity. Riders are a long string, like on the carousel, go around the lake where nude girls are bathed; Several figures with barely noticeable wings hook in the swellings. This triptych has been preserved better than most of Large altaic images of Bosch, and careless fun, soaring in the composition, is emphasized by it clear, evenly distributed over the entire surface with light, lack of shadows, bright, saturated flavor. Against the background of grass and foliage, like colorful colors, the pale bodies of the inhabitants of the garden are sparkled, seemingly white next to the three-four black figures, there and Sym placed in this crowd. Behind the rainbow fountains overflowing with all colors. The surrounding lake in the background, the smooth line of gradually melting hills can be seen on the horizon. Miniature figures of people and fantastically huge, bizarre plants seem as innocent as the patterns of a medieval ornament, inspired by the artist.

It may seem that the picture shows the "Children's Children's", "Golden Age", when people and animals peacefully existed side by side, without the slightest effort to get fruits, which gave them the earth into abundance. However, it should not be assumed that the crowd of nude lovers was supposed to be an apotheosis of sinless sexuality. For medieval morality, sexual intercourse, which in the 20th century has finally learned to perceive as a natural part of human existence, was more often evidence that a person has lost his angelic nature and low fell. IN best case They looked at the copulation as an inevitable evil, at worst - as for a mortal sin. Most likely, for Bosch, the garden of terrestrial pleasures is a world harmonious.

Introduction

It is this work of Bosch, especially fragments of the central picture, usually lead as illustrations, it is here that the unique creative imagination of the artist is fully manifested. The incredit charm of Triptych is how the artist expresses the main idea through many details.

On the left sash, Triptych depicts God representing Eve to the stunned Adam in a serene and peaceful paradise. In the central part, a series of scenes, differently interpreted, depicts a true garden of pleasures, where mysterious figures move with the paradise tranquility. In the right shutter, the worst and disturbing images of the entire work of Bosch are captured: complex machines for torture and monsters generated by his fantasy.

The picture is filled with transparent figures, fantastic facilities, monsters who have acquired flesh by hallucinations, adsk cartoons of reality, to which he is watching the test, extremely sharp look. Some scientists wanted to see in Triptych an image of a person's life through the prism of her vanity and images of earthly love, others - the celebration of solvents. However, the simplicity and some detachment with which individual figures are interpreted, as well as a favorable attitude to this work from the church authorities, are forced to doubt that its content could be the glorification of bodily pleasures.

The garden of terrestrial pleasures is an image of Paradise, where the natural order of things is abolished and chaos and creature will be full, leading people from the path of salvation. This Triptych of the Netherlands Masters is the most lyrical and mysterious work: in the symbolic panoramic created by him, Christian allegories are mixed with alchemical and esoteric symbols, which gave rise to the most extravagant hypotheses regarding the religious orthodoxy artist and its sexual inconsistencies.

Federico Dzheri

central part

At first glance, the central part represents almost the only one in the works of Bosch idyll. The extensive space of the garden is filled with naked men and women who are taking place with gigantic berries and fruits, play with birds and animals, splashing in water and - first of all - openly and shamelessly indulge in love joy in all of their diversity. Riders a long riddle, like on the carousel, go around the lake where they bathe nude girls; Several figures with barely noticeable wings hook in the swellings. This triptych preserved better than most of the major altar images of Bosch, and careless fun, soaring in the composition, is emphasized by it clear, evenly distributed throughout the surface with light, lack of shadows, bright, saturated color. Against the background of grass and foliage, like colorful colors, sparkle the pale bodies of the garden inhabitants, seemingly white next to the three-four black figures placed in this crowd. Behind the rainbow of fountains and buildings surrounding the lake in the background, a smooth line of gradually melting hills can be seen on the horizon. Miniature figures of people and fantastically huge, bizarre plants seem as innocent as the patterns of a medieval ornament, inspired by the artist.

The main goal of the artist is to show the constrictive consequences of sensual pleasures and their ephemeral nature: Aloe dugs into nude flesh, the coral fastest captures the bodies, the sink slammed, turning a love couple in his prisoners. In the tower of adultery, whose orange-yellow walls sparkle like a crystal, deceived husbands sleep among the horns. The glass sphere, in which lovers are indulge in caressing, and a glass bell, covering three sinners, illustrate the Dutch proverb: "Happiness and glass - as they are short-lived"

Charles de Tolnai

It may seem that the picture shows "Children's Humanity", "Golden Age", when people and animals peacefully existed side by side, without the slightest effort to get the fruits that the Earth gave them into abundance. However, it should not be assumed that the crowd of nude lovers was due to the plan of Bosch to become apotheosis of sinless sexuality. For medieval morality, sexual intercourse, which in the XX century. I learned to finally perceive as a natural part of the human being, it was more often evidence that a person had lost his angelic nature and lowly fell. At best, they looked at the copulation as an inevitable evil, at worst - as for a mortal sin. Most likely, for Bosch, the garden of terrestrial pleasures is a world harmonious.

Bosch is absolutely faithful to biblical texts in their other works, we can confidently assume that the central panel is also based on biblical motifs. Such texts can really be found in the Bible. Before Bosch, no artist dares to inspire them, and that is, a good reason. Moreover, they diverge with the generally accepted rules of biblical iconography, where only the description of the already happened or what will happen in the future according to Revelation is possible.

Left sash

Left sash depicts the last three days of the creation of the world. Heaven and the Earth made dozens of living beings, among which you can see the giraffe, elephant and mythical animals like a unicorn. In the center of the composition rises the source of life - a high, thin, pink structure, removed reminding the Gothic Tabernacle, decorated with intricate carvings. Sparkling in Tine gemsJust as fantastic animals are probably inspired by medieval ideas about India, who captivated by their wonders, the imagination of Europeans since the days of Alexander Macedonsky. There was a popular and fairly common belief that it was in India that he was lost by Eden.

On the foreground This landscape, which captured the asked world, is not a scene of the temptation or expulsion of Adam and Eva from Paradise (as in the "believed"), and their connection by God. Taking Eve by hand, God brings her to the only he who won the Sleep of Adam, and it seems that he looks at this creation with a mixed sense of surprise and anticipation. God himself is much younger than in other paintings, he appears in the appearance of Christ, the second person of the Trinity and the embodied word of God.

Right Sash ("Musical Hell")

The right sash received its name due to the images used here in the strange way: one sinner crucified on the harp, one sinner crucifies, below the lute becomes an instrument of torture another, lying the "musician", on the buttocks of which the melody notes are drawn. It is performed by the Choir of the Cursed Souls led by Regent - Monster with Fish Morda.

If an erotic dream is sewn on the central part, then on the right sash - a nightmarish reality. This is the most terrible vision of hell: the houses are not just burning here, but explode, illuminating flame flames dark background and making water of the lake of the Bagry, like blood.

In the foreground, the rabbit drags his booty, tied to the legs to the sixth and bleeding, is one of the most favorite Bosch motifs, but here the blood from the spelling belly does not flow, but shelters, as if under the action of a powder charge. The victim becomes a bill, prey - a hunter, and this is how it is impossible to hand over the chaos that reigns in hell, where normal interrelations that have once existed in the world, and the most common and harmless items everyday life, racing to monstrous sizes, turn into torture tool. They can be compared with giganic berries and birds of the central part of Triptych.

An essay is considered a literary source of Bosshov ADA music Vision Tundala"(See the link below), published in Hertogenbosa in the city, describing the mystical visit to the author of Paradise in detail, from where, apparently, the image of the ice-covered pond, according to which the sinners are forced invariably to slide on the shaky sledding or skates.

On the medium-sided lake, another sinner is insecably balancing in a huge ice skate, but he carries it straight to the bastard, where another sinner is still floundered in ice water. These images are inspired by the ancient Netherlands saying, the meaning of which is similar to our expression " thin ice" Just above are people like midges flying on the light of the lantern; On the opposite side, "the doomed eternal death" hangs in the "ear" door key.

The devilish mechanism - a hearing body-based organized from the body - is made up of a pair of puzzled by the arrow of the giant ears with a long blade in the middle. There are several options for interpretation of this. fantastic motif: According to some, this is a hint of human deafness to the words of the Gospel "who has ears hearse." The "M" letter engraved on the blade indicates either the stigma of the gunsmaker or the initial painter, for any reason a particularly unpleasant artist (possibly, Jan Mostarta), or - the word "mundus" ("Peace"), pointing to universal importance male start, symbolized by the blade, or the name of the antichrist, which, in accordance with the medieval prophecies, will begin with this letter.

A strange creature with bird head and a large translucent bubble absorbs sinners and then lower their bodies in the perfect-round cesspool. There, the buyers are convicted forever to deteriorate with gold coins, and the other. Apparently, the grocery is to unscrew the eaten delicacies. The motive of a demon or a devil sitting on a high chair is borrowed from the text "Vision of Tundala", at the foot of the throne of Satan, next to the hello flame, a naked woman with toak on the chest hugs a black demon with donkey ears. The woman's face is reflected in the mirror, mounted to the buttocks of another, green demon, is such a retribution to those who succumbed to the sin of pride.

External flaps

External flaps

Looking at the Griezayilev images from the outside, the viewer does not know what a riot of color and images is hidden inside. In the gloomy tones, the world is depicted on the third day after God created him from the Great Empty. The earth is already covered with greens, surrounded by water, lit by the sun, but it still can not meet people or animals. The inscription on the left sash reads: "He said, and did"(Psalm 32: 9), on the right - "He commanded, and appeared"(Psalm 148: 5).

Literature

• Battilotti, D. Bosch. M., 2000.
• Bozing, V. Ieronim Bosch: Between Hell and Rai. M., 2001.
• Dzheri, F. Bosch. Garden of earthly pleasure. M., 2004.
• Zorilla, H. Bosch. Aldeasa, 2001.
• Igumnova, E. Bosch. M., 2005.
• Coplstone, T. Eachonimus Bosch. Life and art. M., 1998.
• Mandera, to Van. Book about artists. M., 2007.
• Marainissen, R. H., Raiphelare, P. Jeronim Bosch: artistic heritage. M., 1998.
• Martin, Bosch. M., 1992.
• Nikulin, N. N. Golden Age of the Netherlands Painting. XV century. M., 1999.
• Tolnai, S. Bosch. M., 1992.
• Fomin, G. I. Jeronim Bosch. M., 1974. 160c. Belting, Hans. Hieronymus Bosch: Garden of Earthly Delights. Munich, 2005.
• Dixon, Laurinda. Bosch A & I (Art & Ideas). NY, 2003.
• Gibson, Walter S. Hieronymus Bosch. New york; Toronto: Oxford Univ. Press, 1972.
• Harris, Lynda. The Secret Heresh of Hieronymus Bosch. Edinburgh, 1996.
• Snyder, James. Bosch in Perspective. NEW JERSEY, 1973.

Links

• Painting from the Prado Museum in the highest resolution on Google Earth
• "Garden of Earth Delight" in the database of the Prado Museum (AP.)

Masterpieces of Northern Gothic
Painting	Trijbonsky Altar Diptych Wilton Dortmund Altar Fleal Altar Annunciation Meroder Gent Altar Portrait of Fours Arnolphin Madonna Chancellor Rollane St. Petersburg Annunciation Removing From Cross Female Portrait (Rogyr) Melansky Diptych Altar Jacopo Tanya Seven Jasosa Mary Altar Vita Stena Altar Portinari WHO SENA Garden of earthly pleasure Scary Court (Bosch) Iengeim Altar
Miniature

Jerome Bosch. Garden of earthly pleasure. 1505-1510

By ours modern ideas There is no violence and death in Paradise. However, they have a place to be in paradise Bosch. The lion caught a deer and already bite into his flesh. A wild cat carries in the teeth caught by amphibian. And the bird is about to swallow the frog.

Of course, animals are difficult to count to sinners, because they are killed for survival. But I think Bosch is not easy to make these scenes in the image of Paradise.

Perhaps so he tried to show that the cruelty of the world could not go anywhere, even in paradise. And a person, as part of nature, is also endowed with cruelty. The question is how to manage it: falls into sin or will be able to curb his animal beginning.

2. Where can Bosch see exotic animals?

Bosch depicted not only fantastic monsters, but also actually existing animals from the distant Africa. Hardly a resident Western Europe Could see an elephant or giraffe live. After all, there were no circus and zoos in the Middle Ages. So how did he manage to portray them so exactly?

In the time of Bosch, it was very rare, but travelers met, who brought the drawings of unknown animals from distant countries.

The giraffe, for example, was most likely copied by Bosch with a traveler drawing Chiriako d'Ancon. At the end of the 15th century, he traveled a lot in the Mediterranean in search of ancient facilities. Today, D'Ancon is considered the father of modern archeology. Traveling in Egypt, he made the sketch of the giraffe.

3. Why do men water dance, senedlawing different animals?

In the central part of the triptych, people rejoice in earthly life, indulging in the sin of solvents. Just filled with naked people: they eat berries and fruits, talk and hugging here, then there.
Jerome Bosch. Garden of earthly pleasure. The central part of Triptych. 1505-1510 Prado Museum, Madrid.

The least chaotic in the picture seems dance from unusual riders: men ride on various animals around the lake, in which girls serenely sprinkled.

I really like the explanation, which the journalist Konstantin Rail gave this action. Girls in the lake - lonely ladies waiting for their chosen elections. Each of them is on the head or fruit or a bird. They may mean the nature and essence of a woman. On some sow black birds, symbols of misfortunes. Such women are more likely to make their men unhappy due to a bad character. On others - red berries, a symbol of lust and breakfast.

But the character of men is determined by the animal on which he rides. There are horses and camels, and boys. But the goat is still free, without a rider.

It is also noteworthy that men hold different gifts for future choices - who is a fish, who eggs or berries. Having found a soul mate, the pairs will spread around the garden to enjoy the earthly slituity life not alone.

4. If Bosch depicts, how do people indulge in sin of solvents, then where are the slutty scenes actually?

Despite the fact that Bosch portrayed the uncountable number of naked figures, which, according to his idea, they indulge in the sin of sweetusty, you can hardly find unpleasant scenes here.

But it is only in the view modern man. For the time of Bosch, the image of naked bodies is already the personification of the extreme debauchery.

However, there is still one dissolute couple in the picture, which is superior to all the others on the frankness of his gestures. It is well hidden, so finding it very difficult.

The couple is located in the depths of the garden in the center of the central fountain: a bearded man put his palm on the Lono of the Bolshaper Woman.

5. Why in the garden of pleasures so many birds?

Owl is often found on the left and central parts of Triptych. We can find falsely that this is a symbol of wisdom. But this value was relevant in antiquity, and it is accepted in our time.

However, in the Middle Ages, Owl, as a nightly predatory animal, was a harbinger of evil and death. Just like the potential victims of owls, people should be on guard, since evil and death look out for them and threaten the attack.

Therefore, Owl in the opening of the fountain of life in paradise is rather a warning that evil does not sleep even in sinless space and is only waiting for the moment when you get stuck.

Also on the central part there are many birds of huge sizes on which people are sitting riding. Outdated value Dutch word Vogel (Bird) - sexual intercourse. Therefore, the image of large birds is an allegory of Bosch about the unrestrainedness of people in lust and debauchery.

Among the drokes, ducks and dyatlov there is a federal, which was associated with the people of Middle Ages with uncleanness. After all, the fourth, having a long beak, is really often picks up in manure.

Lust - the dirty aspiration of a person in the concepts of religious people of the Middle Ages, which was Bosch. Therefore, it is not surprising that he portrayed him here.

6. Why aren't all sinners subjected to flour in hell?

Many riddles and on the right sash of the triptych, on which hell is depicted. He is chosen by all sorts of monsters. They tormented sinners - devour them, pushing the knives or lustful.
Jerome Bosch. Garden of earthly pleasure. Right sash Triptych "hell". 1505-1510

But not all souls take flour. I drew attention to sinners who are on the main demon in the center of the picture.

Inside the hollow egg - a tavern, where the sinners drink, albeit with the riding on a lizard-like being. And a sad man looks out of the tavern and looks at the occurring chaos. In the fields of soul hats, sinners walk under arms with monsters.

It turns out that they are not particularly tormented, but give them a drink, walk with them or give it to be buried alone. Perhaps these are those who sold the souls to the Devil and for them was booked a warm place without torment? Only nowhere to go away from the contemplation of the torment of others.

I also wrote in detail about this demon-tree in the article.

7. What kind of notes are depicted at the sinner? Is it a nonsense or a concrete melody?

In hell a lot of sinners punished for playing with musical instruments For fun and pleasure. In the time of Bosch, the right was considered to be executed and listen only to church music.

Among such sinners, one is attached to a huge lute. On his book - notes. Until recently, the researchers did not pay special attention to them, considering it only as an element of the composition.

But one student of Oklahomsky Christian University decided to check whether these notes are meaningless.

Everyone was amazed when she shifted the melody into modern notation and recorded it in choir format male singing In the tonality of the D Major. That is how this music sounded during Bosch:

Melody is pleasant, but not like a funny song. Rather - on church chants. The picture shows that sinners choir perform it. Apparently, their flour concludes that the same motive is forever.

Here are just a few mysteries fantastic painting Middle Ages.

In fact, this work causes much more questions. But you will not find a single tolstom with solutions. Here Peter Breygel is the older, the contemporary of Bosch, everything was much unequivocal, and the researchers have long been decrypted his work. After all, he portrayed Dutch proverbs.

In contact with

Most mysterious artist Northern RenaissancePerhaps the whole life was holding a fig in his pocket: the beliefs of a secret heretic are encrypted in the paintings of the Pobravander Catholic. Guess contemporaries about it, Bosch would probably be sent to the fire

Picture "Garden of earthly pleasures"
Tree, oil. 220 x 389 cm
Year of creation: 1490-1500 or 1500-1510
Stored in the Prado Museum in Madrid

Yerun Van Aken, who signed his paintings "Jeronimus Bosch", was considered in Hertohenbosa quite respectable person. He was the only artist in the pious city society, the Brotherhood of Our Lady, cathedral Saint John. However, the artist may have introduced fellow citizens and customers to delusion. Suspicions that heretic was hidden under the larvae of good Catholics, they expressed themselves at the turn of the XVI-XVII centuries. Historian and art historian Wilhelm Frenger in the middle of the 20th century suggested that the painter belonged to the Adamites sect. Modern researcher Bosch's creativity Linda Harris nominated a hypothesis that he was a supporter of Qatari heresy.

Catar was taught that the Old Testament Jehovah, the creator of the material universe, is actually the prince of darkness, and the matter is evil. Souls deceived by him angels fell out of spiritual world to the ground. Some became demons, others who still have a chance for salvation, turned out to be drawn into a series of rebirths in the bodies of people. Catar rejected the doctrine and rites of Catholics, considering all this by creating a devil. Several centuries, the church eradicated the erase spread over Europe, and by the end of the XV century about the Qathari almost anywhere heard. Bosch, according to Harris, intentionally distorted in the pictures of canonical plots, encrypted in numerous symbols a secret message to future generations about his true faith.

So, on the left sash of the Triptych "Garden of Earth Delights", Bosch depicted Eden on the days of the creation of the first people when the souls of the angels fell into the trap of mortal flesh. The central part, believes Harris, is the same Eden, but of the present time: there are souls between reincarnations, and the demons impose their earthly temptations to former angels Forgot about the spiritual world and wanted to bring to the material again. Right sash is hell, where after Terrible court All who failed to break the reborn chain.

1 Christ. Jesus Qatar was considered the antagonist of Prince Darkness, the Savior, who reminds the fallen souls about the spiritual world and helps them get out of the shackles of the material. It is usually believed that on the left sash Triptych Bosch portrayed how God poses Adam created from Eva Rib, but Linda Harris believes that the artist wrote Christ, warning Adam from earthly temptations, the embodiment of which is the first woman.

2 cat with mouse. The animal, who fell into the teeth to a predator, is a hint of a soul, which was trapped in the material world.

3 Owl. The predatory night bird present on most paintings of Bosch is the prince of Darkness, watching how people again and again fall into his silt.

4 fountain of spiritual death. Parody on the fountain of live water, an image from the Christian iconography of Eden. The water of the source symbolized the salvation of humanity faith, baptism rites and communion. Catar rejected rituals, in their opinion, a false religion, even stronger-binding souls with matter. In the picture of Bosch, the sphere is built into the fountain - the symbol of the world. The cunning Creator of the Universe in the form of owls looks out of it.

5 people. Amur funny funny sinners on the lap of nature, according to the specialist in the work of Bosch Walter Bozing, is a reference to the "Garden of Love" in those days. But Qatar will see the souls here, indulging in the illusory "paradise", waiting for new incarnations here.

6 Pearls. In the teachings of the Qatar and their ideological predecessors of Manicheev, Harris argues, she symbolized the soul, the light-sound core from the spiritual world, preserved fallen angel And on earth. With the multiplication of the number of people, these souls shared, more and more diving into the matter, because Bosch portrayed the pearls scattered in the mud.

7 Musical Instruments. The Italian Art Historian Federico Dzury believed that the artist placed them in hell, as the expression "Body Music" was well acquainted to people of that time and meant solisure. Catar was considered to lust the worst of the sins also because because of her new people are born - prisoners of the material world.

8 strawberries. Art historian Elena Igumnova notes that in the time of Bosch, this berry was considered to be mounted fruit without real taste and symbolized illusory pleasures. There are many and other berries and fruits in the picture - they all mean terrestrial temptations.

9 Horovod riders. Linda Harris believes that he symbolizes a circle of reincarnations in which the soul is drawn due to earthly passions.

10 Tree of death. It consists of objects that symbolize the structural terrestrial shell, - dried wood and an empty shell. By Harris, Bosch, this monster plant personifies the true essence of the material world, revealed by a terrible court.

Artist
Jeronimus Bosch

Between 1450 and 1460 - Brabant was born in the duchy in the city of Hertogenbos, or Den Bos, in whose honor he took the pseudonym Bosch.
About 1494 or 1495 * - wrote Triptych "Worshilation of Magi".
Until 1482 - married a rich aristocrat of Aleid Wang de Mervene.
1486-1487 - Joined the Brotherhood of Our Lady with the Cathedral of St. John in Hertohenbos.
1501-1510 - created a picture "Seven mortal sins", according to one of the versions that served as a countertop.
1516 - died (presumably, from the plague), buried in the Cathedral of St. John in Hertohenbos.

* In dating of barefoot paintings, there are divergence. "Around the World" here and then cites information from the site of the Prado Museum, where the artist mentioned in the article.

In 2016, it is difficult to call the artist, whose name would sound more often than Jerome Bosch. He died 500 years ago, leaving behind three dozen pictures, wherever neither image, then a mystery. Together with Snezha Petrova, we walk on the "garden of earthly pleasures" Bosch and try to figure it out in this bastiary.

"Garden of earthly pleasure" Bosch (picture increases by clicking)

Plot

Let's start with the fact that none of the existing interpretations of the work of Bosch is not recognized as true. All that we know about this masterpiece - from the time of creation to the name - the hypothesis of researchers.

The names of all paintings of Bosch are invented by researchers of his work

Triptych is considered to be software for Bosch not only because of semantic load, but also at the expense of the diversity and sophistication of the characters. The name was made by art historians, suggesting that the garden of earthly pleasures was depicted on the central part.

On the left sash - the story of the creation of the first people and their communications with God. The creator submits Eve to the stunned Adam, who missed this day alone. We see paradise landscapes, exotic animals, unusual imagesBut without inflection - only as a confirmation of the wealth of the fantasy of God and the variety of living beings created by him.

Apparently, it is not by chance that the episode of Adam and Eve is chosen. This is the beginning of the end, because the woman broke the taboo, seduced a man, for which they went to the ground, where, as it turned out, they are waiting for not only the tests, but also a garden of pleasure.

However, it is necessary to pay early or late for everything, which is talking about the right sash, which is still called the musical hell: to the sounds of numerous tools of monsters, trimming cars are launched, where those who have recently unhealthy fell in the garden enjoyed.

On the reverse side of the sash - the creation of the world. "In the beginning God created the heaven and the earth. The land was insidious and empty, and darkness over the vast, and the Spirit of God rushed over the water. " (Gen. 1: 1-2).

With his work, Bosch, apparently, promoted piety

Image by back side sash

Sin-chadliner in Triptikh - Sweistance. In principle, it would be more logical to call the Triptych "garden of earthly temptations" as a direct reference to sin. What seems idyll in the modern viewer, from the point of view of a person of the turn of the XV-XVI centuries. The Ekov was an obvious example of how it is impossible to lead (otherwise - to the right sash, be kind).

Most likely, Bosch wanted to show the intestate consequences of sensual pleasures and their ephemeral character: Aloe dugs into nude flesh, the coral fastens the body, the sink slams, turning a love couple in his prisoners. In the tower of adultery, whose orange-yellow walls sparkle like a crystal, deceived husbands sleep among the horns. The glass sphere in which lovers are indulge in caressing, and a glass bell, shelting three sinners, illustrate the Dutch proverb: "Happiness and glass - as they are short-lived."

Hell is shown the most bloodthirsty and unequivocally. The victim becomes a bill, prey - a hunter. The most common and innocent objects of everyday life, growing up to monstrous sizes, turn into torture tools. All this is how it is impossible to give the chaos, reigning in hell, where normal interrelations that have once existed in the world have been turned over.

Bosch helped the copies to steal his plots

By the way, not so long ago, a student of Christian University of Oklahoma Amelia Hamrik deciphered and shifted for the piano a note record, which was wondering on the body of a sinner lying under the giant mandolina in the right part of the painting. In turn, William Esenzo, an independent artist and composer, made a choir arrangement for the "hellish" song and composed words.

Context

The main thought that connects not only parts of this triptych, but, apparently, all works of Bosch - the theme of sin. It was generally a trend at the time. In fact, it is virtually impossible not to sin: here the name of the Lord you will say, you will drink there or eat extra, we still care, I will carry a neighbor, in the despondency going to go - how to stay clean?! Therefore, people sinned and afraid, they were afraid, but they still sinned, and lived in fear God's court And from day to day waited for the end of the world. The church was heated (in figurative sense On sermons and in direct - on the bonfires) faith of people in the inevitability of punishment for violating the law of God.

A few decades after the death of Bosch, a wide movement of the revival of bizarre fancy creatures began dutch painter. This splash of interest in Bosshovsky motifs, explaining the popularity of the works of Peter Bruegel Senior, was supported by the wide distribution of engraving. The passion lasted several decades. Special success had engravings illustrating proverbs and scenes from folk life.

Surrealists called themselves the heirs of Bosch

"Seven mortal sins" Peter Bruegel Senior

With the arrival of Surrealism, Bosch was taken out of the storages, dust blew and rethought. Dali declared himself his heir. The perception of images from Bosch's webs seriously changed, including under the influence of the theory of psychoanalysis (where without Freud, when it comes to the release of the subconscious). Breton and considered at all that Bosch "wrote down" on the canvas, any image that came to his head - actually conducted a diary.

Interesting is another fact. Their pictures Bosch I wrote in the technique of A La Prima, that is, put the oil not a few layers, waiting for each of them every way (as they did, actually, everything), and one. As a result, the picture could be written in one session. This technique has become very popular much later - among impressionists.

Modern psychology can explain why the works of Bosch have such attractiveness, but cannot determine the meaning they had for the artist and its contemporaries. We see that his paintings are full of symbolism from opposite camps: Christian, heretical, alchemicals. But what actually encrypted Bosch in such a combination, we never seem to know.

Fate artist

Talk about the so-called creative career Bosch is rather difficult: we do not know the original names of the picture, none of the cloths are not specified the date of creation, and the author's signature is rather an exception than the rule.

The legacy of Bosch does not say that numerous: three dozen paintings and a dozen drawings (copies of the whole meeting are stored in the artist name in his hometown Hertogenbosa). Glory in the eyelids provided to him mostly triptychs, their seven, including the "garden of earthly pleasures", were preserved to this day.

Bosch was born in the family of hereditary artists. It is difficult to say whether he chose this path himself or did not have to choose, but, apparently, working with the materials he studied at his father, grandfather and brothers. He performed the first public works for the Brotherhood of the Mother of God, whose member was. He as an artist entrusted the tasks, where it was necessary to wrap in paints and brushes: the painting of everything and all, the design of festive processions and ritual sacraments, etc.

At some point, order the canvas from Bosch became fashionable. The list of customers of the artist Saved such names as the ruler of the Netherlands and the King of Castile Philip I is beautiful, his sister Margarita Austrian, Venetian Cardinal Domenico Grimani. They laid down round sums, hung the canvas and frightened guests with all mortal sins, hinting, of course, at the same time the owner of the house.

Contemporaries Bosch rather quickly noticed who now in High, picked up the wave and started copying Jerome. Bosch came out of this situation specifically. Not only that he did not suit the hysteria about the plagiarism, he even oversaw copiers! Went in the workshops, followed how a copyist works, gave instructions. Yet it was people of other psychology. Probably, Bosch was trying to be craftped with the image of the devilish images that have frightened simple mortals, it was as much as possible to keep their passions in the ultrasound. And the upbringing of morals was more important than copywriter for Bosch.

All his heritage in relatives distributed the spouse after the death of the artist. Actually, there was nothing more to hand out after him: apparently, all the earthly benefits that he had bought on the money of his wife who came from a rich merchant race.