Animals in Art and Thought to the End of the Middle AgesM.I.T. Press, 1971 - 580 pagini At all periods animals have been used by man in art and literature to symbolize his religious, social and political beliefs, and artists have found constant inspiration in the grace and beauty of animal forms. Yet animals have also always been viewed realistically by hunters, sportsmen, farmers, and all who come into daily contact with them or exploit them for food supplies or as beasts of burden. In Animals in Art and ThoughtFrancis Klingender discusses these various attitudes in a survey which ranges from prehistoric cave art to the later Middle Ages. He is especially concerned with uncovering the latent as well as the manifest meanings of animal art, and he presents a detailed examination of the literary and archaeological monuments of the periods under review. The themes discussed include the Creation myths of pagan and Christian religion, the contribution of the animal art of the ancient Orient to the development of the Romanesque and Gothic styles in Europe, the use of beast fables in social or political satire, and the heroic associations of animals in medieval chivalry. The author writes, "It is the purpose of this book to suggest possible reasons for...changes of attitude and to attempt some interpretations of these animal images, life-like or fantastic in the minds of our ancestors since the time when the earliest pictures known to us were made. I shall proceed by comparing representative works of art in each period with contemporary documents of folklore or literature, on the one hand, and with the 'real' relations between men and beasts typical of the time, on the other. Wherever possible I shall use the written documents as if they were the verbal associations evoked by the visual imagery in the artist's mind. Where the evidence is too complex or where no written documents survive for this method, I shall endeavor to obtain a similar result by reconstructing the imaginative climate within which the artist worked. Either approach precludes the discussion of a work of art in isolation from its setting. Men's practical experience of animals as hunters, farmers or scientists, and the relative importance of these activities in the lives of different communities, cannot but affect the ways in which ordinary people dream of animals and artists depict them. Hence neither the real relationship between men and beasts, nor the symbolic meanings attached at various times to beasts should be neglected to interpret the ever-changing forms of animal art." |
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Pagina 54
... fish and nets water - fowl in a scene enlivened by gaily coloured groups of birds , which include a hoopoe , redstart and shrikes , perched in the branches of a delicately drawn acacia tree . Another fowling scene , packed with incident ...
... fish and nets water - fowl in a scene enlivened by gaily coloured groups of birds , which include a hoopoe , redstart and shrikes , perched in the branches of a delicately drawn acacia tree . Another fowling scene , packed with incident ...
Pagina 72
... fishes , land and water - birds . Garden and vineyard scenes were thus filled with peacocks , pheasants , partridges , quails and songbirds ; water - birds joined the anglers and their fish in river scenes ; whole pavements became ...
... fishes , land and water - birds . Garden and vineyard scenes were thus filled with peacocks , pheasants , partridges , quails and songbirds ; water - birds joined the anglers and their fish in river scenes ; whole pavements became ...
Pagina 350
... fish to leap ; hence they have received the name of salmon from salio . Their particular manner of leaping is thus : fish of this kind , naturally swimming against the source of the river ( for as birds fly against the winds , so do ...
... fish to leap ; hence they have received the name of salmon from salio . Their particular manner of leaping is thus : fish of this kind , naturally swimming against the source of the river ( for as birds fly against the winds , so do ...
Cuprins
The hunters art and mythology | 3 |
Hand silhouette with dots from the frieze of black Horses PechMerle | 4 |
Macaroni tracings with Animal Heads Altamira | 5 |
Drept de autor | |
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Alte ediții - Afișează-le pe toate
Animals in Art and Thought: To the End of the Middle Ages Francis Klingender Previzualizare limitată - 2019 |
Animals in Art and Thought: To the End of the Middle Ages Francis Donald Klingender Vizualizare fragmente - 1971 |
Animals in Art and Thought: To the End of the Middle Ages FRANCIS. KLINGENDER,Evelyn Antal,John P. Harthan Nu există previzualizare disponibilă - 2020 |
Termeni și expresii frecvente
11th century ancient near east Apocalyptic Apocalyptic tradition appear artists Aurignacian Barbaric animal styles beasts Beatus bestiary Bible birds boar Book British Museum bull Byzantine Caedmon Cagn Carolingian Renaissance carved cathedral Celtic century B.C. chapter Christ Christian church classical contemporary creation creatures cycle Cylinder seal decorative depicted eagle early Gothic animal eleventh century English Enkidu example fables folio Genesis Gothic animal art Greek Hellenistic heraldic hunter's art hunters hunting illustrations imagery Italy king late antique later Middle Ages lions London M. R. James Magdalenian manuscripts medieval miniatures Moissac monastery monsters Monte Cassino monuments mosaics motifs Mozarabic mural nature ornament paintings Paris patterns period Physiologus Psalter reliefs ritual Roman Romanesque and early romanesque art romanesque sculpture Rome scenes sculpture serpent sixth century stag story subjects surviving Sutton Hoo symbolic theme tomb twelfth century Utrecht Psalter vision wild