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Key Symbols in Art

Запись от zarajara размещена 30.04.2012 в 09:07
Обновил(-а) zarajara 30.04.2012 в 09:38

Zara Maloyan. Key Symbols in Art. /Տարեգիրք, ԵԳՊԱ, Երեւան, 2011, է. 166-173 (Proceedings of the Yerevan State Academy of Art (EGHA), Yerevan, 2011 with. 166-173)

key symbols in art.
Many household items that accompany a person in everyday life are endowed with an additional symbolic and mystical meaning, L. Levy-Bruhl in his detailed study of the principles laid out in accordance with which primitive man perceived the world around him and his ability to live in it. In particular, he points out: "... objects created by human hand, they also have different functions in accordance with the attached form to them. It follows that the smallest detail in the form of these objects has its own value, which can sometimes be decisive, "and then -" "capacity" of a household utensils, bows, arrows, cudgels and other weapons of any closely related to every detail of their form; Here's why these details are always played with great precision, "[3. 32-33].

Despite the fact that the object of our study, namely, the key is the product of a later era, no doubt, he was subjected to the same "process of symbolization," as Levy-Bruhl indicated earlier artifacts. Obviously, the object itself, designed for locking and unlocking a lock, could appear in the culture of mankind before the appearance of the house and the door, so the key - an attribute and a sign of civilization formed.

keys of the gods in the ancient world
The specific purpose of the key - to open and close access to anything, could not fail to attract attention since ancient times, (the door lock was known to the Egyptians, by the way, we know that he was wooden) [1. 380].

First image of a key outside your home understood functions, but as a subject endowed with a symbolic, sacred meaning, appears in ancient Egypt - is a famous mark Ankh (Ankh), or "Crookes ANSAT" (the essence of immortality, that is - life). In many Egyptian pictures, wall paintings, reliefs, papyri - the gods are holding the Ankh, or transmit it to people. Obviously, Ankh - a kind of key to another world, allowing one side to the gods to appear and act in the material world, on the other - when people get death to the afterlife. images of that character repeated many times in the images associated with the mortuary cult, in the form of amulets Anka were found in the tombs, sarcophagi. Obviously, he was to serve as "key" that opens the gate to another world and to ensure the smooth passage of the deceased.

There are many interpretations of the origin form Anka, which are mainly associated with the union of male and female principles, the cross connection of Osiris in the form of the letter T and the loop of Isis. Similarity of the sign is associated with the ANC and the sunset, descending to the Nile, that is, a fiery mix of male and female start - water. Whatever the interpretation, it is somehow connected with a mix of masculine and feminine, probably, it originated in the psychoanalytic interpretation of certain key in keeping the phallic symbolism.

Obviously, the same, the interpretation is appropriate for the key - the attribute of Cybele - the goddess of Phrygian origin, whose cult was wearing an orgiastic character. Sure, the phallic symbolism in a pair of key-lock function is associated with unlocking the penetration, to gain access. However, the phallic symbolism of the key-lock, accented in psychoanalysis itself is derived from a deeper and more global archetype.

 Such is the symbolism of the key - the attribute of the Roman Janus (from ianua, "door", the "gate") - the god of entrances and exits, and all began. Janus holds the keys of authority, the opening and closing, as well as the key to the door, giving access to the region of gods and men, to the door of the winter and summer solstice. The doors of heaven in the sign of Capricorn, are the doors of the gods, personifying the increased power of the sun. The doors underground in Cancer - the doors of people, a symbol of the weakening power of the sun.
Janus was depicted with the keys and the two faces looking in different directions, from where he was an epithet of the "double", he was devoted to the double arch at the forum. There is reason to believe that Janus was an ancient god, the demiurge, the god of gods and creator of the world, which is itself in the process of the world into a formless God. [2. a. 649]

Rather complex set of associations linked to the key, is KG Jung's so-called "Tavistock lectures' [5], namely, 4 lectures read:" The key idea is often linked with the mysteries of the cave. In the cult of Mithras there was even a single god, the god Aion key, its existence is not explained, but I think it is easy to understand. God was depicted as a winged creature with a man's body and the head of a lion, the snake-entwined, rising above his head. The image it has in the British Museum .... why Aion, lvogolovy God, entwined by a snake, is also desired the unity of opposites, light and darkness, male and female, creation and destruction. God is depicted with crossed arms, holding the keys. This - the keys to the past and the future. "

In this context, clearly visible, the symbolism of the key, as the sign owner, owner of the right of ownership and access to the forbidden area. This symbolism has found its development in Christianity.
keys of the Apostle Peter
Locked, forbidden, inaccessible consistently attracts a man makes him look for ways to get what you want, but this requires a key, that is, the privileged, in other words - is synonymous with the possession of the key to the election.

The space behind the locked gate - a desirable goal to which all or many, otherwise there would be no need for it to lock itself. In Christianity (as in Islam, Judaism, and in some other religions), this goal is heaven (paradise Greek. "Garden Park" from the ancient Iranian "from all over the place shut off", from the Greek. - Lat. Paradisus and symbols of heaven in all Western European languages) [2. 462], a place from which in the early works of the first people were expelled, and where, in theory, they tend to come back. I must say that, at the time of the expulsion of Adam and Eve, the space of heaven was not limited by any doors, and thus, locks and keys are not locked up.
"So he drove out of Adam, and placed at the east of the garden of Eden cherubim and a flaming sword to guard the way to the tree of life" (Bytie. 3: 24).

If you follow the simple logic, the lack of doors and the lock-key means that no return to paradise for a man originally envisaged there was no cherub with a flaming sword - not a gatekeeper, and the guard.

However, according to the New Testament, Jesus gives Peter the keys of the kingdom of heaven: "Then Jesus said to him: Blessed art thou, Simon Bar-Jona, because flesh and blood are not revealed it unto thee, but My Father who is in heaven, and I tell you, you - Peter and upon this rock I will build my church and the gates of hell shall not prevail against it, and give you the keys of the kingdom of heaven: and whatsoever thou shalt bind on earth shall be bound in heaven, and whatever you loose on earth shall be loosed in heaven "(Matthew 16:17-19).

In other words, a ban on entry into heaven is not absolute, but only partial, the right of access depends on having the keys of Peter, who replaced the guard-cherub.
On the other hand, the replacement of the figures on the Gatekeeper guards associated with the change of the notion of paradise, if the Old Testament seemed like the garden of Eden (Gen. 2: 8-3, 24), the New Testament heavenly Jerusalem (Rev. 21, 2-22, 5) - it is the city, the creation of urbanized consciousness. City according to the canons of the ancient town planning typically have lockable gates, and thus the gatekeeper that could unlock them.

In the text of scripture keys mentioned several times, particularly in the Revelation of St. John the Evangelist John, Jesus says, "And I have the keys of hell and death" (1:18). Note that we are talking about something else, the second key, this time from hell, who apparently conceived as a mirror paradise, respectively - also in an urbanizing state.
Slightly below mentioned "Key of David, who opens and no man shutteth, and shutteth and no man openeth" (Otkrovenie. 3:7).

Based on these statements, in the iconography of medieval Europe secured the image of St. Peter with two keys in the bundle.
 So figure of Peter the gatekeeper (in the present study does not address other functions of the saint) are expressed in a stable attribute - a pair of keys, which to the Roman period (11-12 centuries). In European art itself become a characteristic type of image. Thus, in the largest collection of Romanesque art in Spain - National Museum of Catalan Art in Barcelona, ​​which contains fragments of frescoes preserved several churches, the image of St. Peter with the keys found repeatedly: a painting of the church of El Burgal (Fig. 1), St.. Eulalia in Estatsion (Fig. 2), Santa Maria Anyu (Fig. 3). All the paintings that decorated the once small village churches the Spanish province of Catalonia, exhibit distinctive stylistic similarities, despite the fact that the feel and originality of artists, obviously, they wrote "different hand." We can assume that artists somehow touching, adopting the style and iconography of each other. Perhaps this explains why, despite the fact that the characters in the paintings of these churches are different and have a specific appearance (face, figure, legs, clothes, setting the figure of St. Peter and the other characters in each church written in a peculiar manner), but the keys very similar. They are very large - the hand of Peter keeps them in the middle of the axis, the keys look more like a small mace or a short stick.

Communication between the artists themselves can be explained by the fact that the keys in the hands of the Apostle Peter (Fig. 4) at the portal of the church of St. relief. Peter in Moissac (12). Have the same characteristic shape as the keys to the Catalan painting, because the church is located in the Languedoc region in the south of France in relative proximity to the Spanish Catalonia. Nevertheless, it remains an open question about the shape of the keys, beard of one of them has a complex shape of curly, and beard of another uniquely resembles the Latin letter R. Presumably, this is the first letter of a word, even though the search is unlikely to succeed unless this is specified in a little-known medieval source. As in other regions of this image is not found, it seems that the beard in the form of R was a local phenomenon. However, we found out that in all these images of St. Peter holds the keys up beard is not accidental, that's indicated that we face is not conventional, terrestrial, and the "heavenly" keys.

The image of Peter with two keys, symbolizing the power of the Church to forgive sins, and thus provide access to paradise, and put out of the church - what was perceived as an inevitable falling into hell. According to heraldic tradition, and each key had its own color of the metal - gold and silver [4. 96]. Note that, unfortunately, the paintings of Catalan churches can not judge the color of each of the illustrated keys.
Crossed silver and gold keys are the primary emblem of the Vatican, but here they are not only the image of St. keys. Peter (the governor is considered to be the Pope), but "represent respectively, the secular and spiritual power, a smaller and more secret, the earthly and heavenly paradise" [6].

The two keys in the hands of Peter can be seen on the big dome of the Byzantine mosaics of San Marco in Venice (1200). On the altar painting of Westminster in London (late XIII century) clearly shows that both the golden key, and their beard is nothing extraordinary.
Picture of two keys in the hands of Peter's so typical of the Middle Ages, and continued during the Renaissance. For example, a pair of keys in the "Last Judgment" by Fra Angelico (Florence, 1430), and in Perugino "Handing the keys to Peter" (Romans Vatican. Sistine Chapel, 1481) and even in the "Funeral of Count Orgaz" by El Greco (Toledo Ispaniya. , 1586), although in these works that, from what it is made of metal keys, it is difficult to judge.

I must say, despite the fact that the keys are still an impressive size, the barbs of both are identical, and their shape is usually for her, and for our time. Probably by the time of creating these works of Romanesque symbolism is already out of circulation. Moreover, for the artists of the late Renaissance, apparently, was the presence of key importance as an attribute of St.. Peter, but if it does not require the customer, scrupulous adherence to tradition it was not mandatory. Dealing with this symbol is enough freestyle, as Albrecht Dürer in the "Four Apostles" (Germany, Munich. 1526) depicted in the hands of Peter of a large gold key.
Private issue - how many keys in the hands of Peter, and from which they are made of metal, is actually quite a significant impact on a deeper understanding of the functions and capabilities, the scope of competence of the biblical characters and related archetypal representations. By itself, the gatekeeper function - the dual, it is an intermediary that connects the outer and inner space. But there are two keys - it is like a double mediation, suggesting an intermediate location of the pylorus. In fact, the simple question - "from which the second door key unlocks both doors a porter?" Pulls a string of other issues. Much clearer, if we recall that the second key, the one from the gates of hell - the silver, and silver, for going back to ancient beliefs, traditions - the metal, destroying and frightening off evil spirits. That is the second key does not unlock, but on the contrary - seals the gates of hell, therefore, the second key - a tool of control and power over the underworld and then the figure of Peter the gatekeeper becomes somewhat different, perhaps more formidable and impressive features.

But the authority and another assumption, however, does not contradict the first. Gold - the metal corresponding to the Sun, in other words - the male principle, and silver - the moon and the feminine principle, this is a very ancient ideas, they are archetypal and common, almost all people (you can read about it in a variety of sources, at least from the same B . B. Pokhlebkin [4. 205]). Therefore, gold and silver keys of St. Peter's in the bundle - nothing else, all the same as the union of male and female principle, as in the Egyptian Anke, so we return to the above, the symbolism is the key.

Key-lock, considered together or separately - the characters are extremely valued, beyond our study were many aspects of the key symbols such as the ratio of owner-user, theft of keys, a key position, key - as knowledge, the word - as a key and a digital key, the key - as a symbol of prosperity, wealth, marriage and divorce, which often assotsiruyutsya with symbolic key. However, this study was to clarify a few aspects of it, simple at first glance, the subject.

Literature
  1. 1. Large Illustrated Encyclopedia of Antiquities. Artiya, Prague, 1980, p. 380
  2. 2. BES Mythology, Scientific Publishers "Great Russian Encyclopedia", Moscow, 1998.
  3. 3. Lucien Levy-Bruhl Supernatural in primitive thought. M.: "Pedagogy-Press", 1994, 608 p. - Series: "Psychology: Classical Works"
  4. 4. VV Pokhlebkin International symbols and emblems (the experience of a dictionary), Moscow, Foreign Relations, 1989
  5. 5. http://www.yourdreams.ru/biblio/page...ng-aptl-16.php
  6. 6. http://www.znaki.chebnet.com/s10.php?id=719
The original photos 1, 2, 3 here: http://pavel-otdelnov.livejournal.com/85410.html
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