diary fragments (Spain Travel - December 2010)
Sunday, 28-11-2010, Spain On the next trip to Spain I study the monuments and works of art that generations of long-term tolerant living together, Visigoths, Jews, Christians, Arabs, Romans, and their descendants.
One of the reasons for this study trip was certainly a visit to the Prado, where I hoped a new insight into the painting, which should actually lead to a breakthrough of some symbols. It can not be purposeful large images to view them on a screen or from a book. Certain details in square centimeter sizes can be indicated on a display screen of 6x8 m, but not on a screen or in a book.
The fusion of the Visigoth, Jewish and Arab elements that interested me. The Tervingi / Visigoths, who hit 378 before the end of the Byzantine army under Emperor Valens at the Battle of Adrianople, 382 Roman foederati were (allies) and formed the beginning of the 5th Century, a kingdom in Gaul, which was ousted by the Franks to Hispania. The Visigothic kingdom defeated the Moors in 711 .
The master list of the Visigoths in Toledo contains the family of the kings of the Visigoths in the Iberian Peninsula by 567, the accession of King Liuva I. until the fall of the empire by the invasion of Muslims (see Islamic expansion) 711, and the establishment of the Kingdom of Asturias and the beginning of the Reconquista.
The name Liuva I contains as Liuva II and as Suinthila an androgynous word core, perhaps to the Indo-European religion back out.
All concentrated in a dense program, which was under the careful guidance of the powerful and friendly Tyrolean Gusti of perfectly executed climax to climax. The journey began with a long drive to Seville and finally culminated in the Prado in Madrid.
Monday, 29-11-2010, Sevilla
sign in Alcázar I lot of red and blue decorations, in which outside usually blue dominated after the red is already largely disappeared.
Tuesday, 30-11-2010, Cordoba
The Mezquita Catedral of Córdoba since the Reconquista the city whose Roman Catholic cathedral. Its architectural international standing it has but as the former main mosque - al-Jami ʿ al-Kabir / Jami ʿ Qurtuba - from the era of Moorish Spain.
In some areas you can identify the red & blue decorations well.
For the newer field of Mezquita the undersides of some lower sheets, colored alternately red and blue.
After the reconquest, they built a cathedral in the Mezquita . The figure of Mary was traditionally in red, blue, gold and run. Wednesday, 1-12-2010, Granada
reached the emirate of Granada its economic and cultural peak under Yusuf I (1333-1354) and Muhammad V (1354-1391). During this period, the Nazarite regain control over the Straits of Gibraltar and expand trade. Simultaneously, Granada greatly expanded and there were several palaces in the Alhambra, built including the Court of Lions. Yusuf I, was murdered in October 1354 of one of his bodyguards.
the Nazarite Royal Palaces ( Palacios Nazaries ) with their gardens (eg el Partal ) are the heart of the Alhambra. Here there were both the private rooms of the Arab rulers and the seat of government. The walls are decorated with arabesques and Arabic writings provided stucco, decorated the dome on the inside with Muqarnas .
main complex is the Alcázar to the throne room (Sala de Embajadores ) in the Comares Tower. In the Salón del Trono ( Salon de Comares) Yusuf was decorating the walls with original blue and red paint painted arabesques and Kufic lettering.
Friday, 3-12-2010, Madrid
A visit to the Museo del Prado course provides an abundance of red-blue symbolism. Precisely in the Prado is clear to me the importance of museum visits. In particular, the details of how the colors of the gems are the originals only in obvious visible.
only in the paintings birth of the Milky Way by Rubens, in Santa Cecilia Coxcie by Michel (1499) with the Holy One red and blue crown and Judith at the banquet of Holofernes by Rembrandt, I realize that the consequences of the alternate chosen spot color is a religious symbolism. This color episode was certainly the gods and their representatives on earth (clergy, but surely the needle) without notice.
also Diego Velázquez painted The Coronation of the Virgin Mary about 1645 with a wreath of red and blue .. The crown is placed on the Trinity and is perhaps analogous to running the clothes of Mary in red and blue.
Even the red, white and blue flags in the embarkation by Charles III in Naples from 1758 belong to this religious symbolism of the nobility.
fact that Maria in an image of Memling (1470) and tops up vd (1455) in blue and the men are shown in red, is certainly to medieval standards.
Hieronymus Bosch
Bosch is one of the last witnesses, which the symbolism of medieval religion have understood as a synthesis of old Slavic-Celtic, or rather Indo-European religions and the new, Christian-Catholic structures. Bosch lived known in 1500, that is only three hundred years after the destruction of Svetovid temple in 1168 on complaints. At the end of the Middle Ages still have supporters of the old religions have lived in northern Europe, the androgynous symbolism of the Indo-European religions have understood and lived.
the occult knowledge of ancient religious symbols must be among the nobles, the artists, witches, doctors and monks certainly have been known for centuries. Bosch also said to have been involved in the black masses.
The artist was highly esteemed in his time, and even a so-Catholic, English king Philip II as estimated and recognized the symbolism of the paintings, the Bosch painting at that time. By the mid-17th Century, however, was the viewers understanding of the ancient symbolism has been lost. The Bosch's paintings were at once as obscene and it rebuked the former gifted painter as impious. Here, the symbolism of the ancient Indo-European religion was actually easy to understand, for it consists essentially of a simple bi-polarity between the antipodes man and woman who is ready for painting in red and blue.
Red and Blue have left their mark long before Bosch into the religious paintings. To be precise, the fertility symbols that already established in the Bible as divine instructions shortly after the creation were - perhaps not even in the Bible, but rather in the much older Proto-Indo-European religion.
Such was probably the kingfisher at Bosch have a divine symbol, as Reddish-blue creature that embodies the synthesis of man and woman in the androgynous couple.
It is also the kingfisher, the main character (the painter himself?) Is observed in the Garden of Earthly Delights exactly. He and his taciturn partner know the solution, but they may reveal nothing.
There are particular representations of fertility symbolism and saints, which are shown for example in Hieronymus Bosch in red and blue. The left wing of the triptych "The Garden the lusts" (c. 1510) of the fountain as male-female-red column above a blue rock is represented.
In the creation legend of God the Father in male red clothing is shown.
Also in world court- or doomsday triptych Hieronymus Bosch painted the Creator God in male Red and Mary in female blue. This standard is strictly for centuries ...
Judith at the banquet of Holofernes
Judith with a chain with alternating red and blue jewels.
Santa Cecilia Coxcie by Michel (1499)
with In this picture the saint a red and blue crown.
The birth of the Milky Way (1628)
The birth of the Milky Way by Rubens (1577-1640) includes a bracelet with jewels in the alternating red and blue.
Visitation of Rafael (1517)
In the Visitation Rafael (1483-1520) with Maria during pregnancy red, blue and purple.
The Bearded Lady of Ribera (1631)
beginning of 1631 gave the Neapolitan viceroy Duca d'Alcalá de Ribera, the English painter Jusepe commissioned a portrait of Magdalena Ventura to make, a bearded Women from Abruzzo, which extols the image inscribed as a natural wonder . Since the 37th Age had undergone a transformation into a man her body, indicated by a massive hair to masculine patterns, which is in modern medicine, known as hirsutism.
It is conceivable and even probable, that one has seen in prehistoric times such women as a religious miracle. The Coronation of the Virgin Mary
Diego Velázquez painted The Coronation of the Virgin Mary about 1645. The crown is placed on the Trinity and is perhaps analogous to the clothes of Mary in red and blue runs.
God - father and God - son both carry both the male and the androgynous purple symbol red
"Last Supper", Juan de Juanes s
Jesus with the traditionally male red and the blue female symbol. The bottom right isolated seated and red-haired Judas, however, is in the yellow and green Verräterfarben wrapped. He also carries in her right hand a bag full of silver pieces, and he wears no halo .
In another sacrament of Carraci Agostini (1593) with:
- Peter (griffbereitem with knife) the Verrätergelb,
- a separate sitting Judas the Verrätergelb
- John Purple
- Jesus and Red & Blue
Saturday, 2-12-2010, Toledo
The Cathedral of Toledo
Saturday invest us an extra trip to Toledo to visit the cathedral, which is already stored in the sacristy a true treasure of paintings and sculptures.
In the sacristy of the cathedral and the chapel of the "Sant Iago" is the ceiling decorated in red and blue.
Almost all coat of arms on Altarzaum are also in red, blue and gold. This coat colors suggest that the nobility identified with the religious symbol of the priests clothing colors Aaron .
The painting Jesus "by El Greco is traditionally also painted in red and blue. In the Repentance of Peter the Holy but is represented in money, and blue.
In Capilla Mozarabe I identify also red and blue decorations.
Pedro de Mena 1663 has a beautiful sculpture " St. Francis in Ecstasy " created in red and blue.
In Last Supper by Juan de Borgona the floor is tiled in red and blue.
The Black Madonna
In d he cathedral I find a black Madonna in a red coat with a blue jacket in Jezus . The image is a copy of an icon from Czestochowa, Poland. That was seriously damaged in an attack 1430th The trail of the sword cuts were nachgeritzt in memory later. The desecration and "restoration" of the image increased the fame of the shrine. The facial injuries are visible on the icon in Toledo.
All Black Madonna of Romanesque have similar characteristics. They are about 70 cm high, sitting upright, as shown with a rigid wide-eyed into the distance looking view. Your hands or fingers are often excessive. You keep looking forward as a child on her knee.
The child takes the gesture of blessing, or it holds in one hand a ball, which may be the world sphere or an apple. The face is not that of a small child but a grown man. The statues seem to strange and exert a great fascination to many viewers.
The biblical basis for the black color was the Song of Songs Hld 1.5 EU). The relevant passage in the Vulgate is "Nigra sum sed formosa". taken: considered "I am dark, but beautiful" (
Research the Christian Black Madonna (like the cult of Mary at all) so not as a separate, independent phenomenon, but as in the general, age-old tradition of standing.
Illuminated Bibles (1234)
Disorganized are facsimiles issued by illuminated Bibles. This is a 3-part beautiful Bible for the French King Louis IX example are) where you can all in alternating colors red and blue running . All of my sighted illuminations of this work are mainly carried out in red and blue. (1226-1234) with 4887 illustrations. The decoration of the initials and headlines (
Summary
from the numerous color symbols can be derived now surely that medieval art is faithful to the biblical requirements for the meaning of the colors purple, red and blue are also concentrated in the Book of Exodus. The artists had to adhere largely to the specifications of its customers. The nobles as the clergy insisted on a standardized symbols which govern the use of the colors accurately. This color coding was probably originally the common property the Indo-European and penetrated from this source for the Hebrew religion.
God created man in His own image, in the image of God he created him , and they made them male and female.
are in the Bible, these descriptions in a sentence. Consequently, the man would have his creator as a man and woman are considered. Perhaps this sentence describes two consecutive phases.
The first phase is the creation of man "Mannus" we know from the Germania of Tacitus. This person leads to the tripartite division of the Celtic peoples in - first the High culture of Europe - had been familiar.
The second phase is then the distribution of the androgynous Mannusgestalt in men and women. Husband and wife were represented by red, or blue. The couple celebrated in purple as a divine image. Such a simple color coding also understands the medieval illiterate.
This knowledge has been reconstructed after the mid-17th Century had been lost. Bosch is now no longer regarded as obscene - not because we understand it now already, but rather because people have been freed in recent decades by the old prejudice.
In the Prado, one can identify the symbolism of the ancient Indo-European religion still, if you can read the prehistoric symbols. To this end it may help even today, if you're like most medieval citizens illiterate ....
are the religious symbols encoded in the red and blue jewels, in the paintings, in the dress codes of the saints and gods, in the illuminated Bibles, in the letters of our language, the pronouns, in coats of arms and flags of most Nations, etc. Those who know, discovered in each museum visit, new symbols of this ancient religion, the modern religions is probably headed.
