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    • Bosch Garden of Earthly Delights analysis of the painting. The Garden of Earthly Delights

    25.02.2019

    Hieronymus Bosch. The Garden of Earthly Delights. 1505-1510

    When you first look at one of the most mysterious paintings Bosch, you rather have mixed feelings: she attracts and fascinates with a cluster a large number unusual details. At the same time, it is impossible to understand the meaning of this accumulation of details both in aggregate and separately.

    There is nothing surprising in such an impression: most of the details are saturated with symbols that are not known to modern man. Only Bosch's contemporaries could solve this artistic puzzle.

    Let's try and figure it out. Let's start with the general meaning of the picture. It consists of four parts.

    Closed doors of a triptych. world creation


    Hieronymus Bosch. Closed doors of the triptych "Creation of the World". 1505-1510

    First part ( closed sashes triptych). According to the first version - the image of the third day of the creation of the world. There are no humans and animals on earth yet, rocks and trees have just appeared from the water. The second version is the end of our world, after the universal flood. In the upper left corner is God contemplating his creation.

    Left wing of the triptych. Paradise


    Hieronymus Bosch. Paradise (left wing of the triptych “The Garden of Earthly Delights”). 1505-1510

    Second part (left wing of the triptych). Image of a scene in Paradise. God shows the surprised Adam Eve, just created from his rib. Around - recently created by God animals. In the background is the Fountain and the lake of life, from which the first creatures of our world emerge.

    The central part of the triptych. The Garden of Earthly Delights


    Hieronymus Bosch. The central part of the triptych. 1505-1510 .

    The third part (the central part of the triptych). An image of the earthly life of people who massively indulge in the sin of voluptuousness. The artist shows that the fall is so serious that people cannot get out on a more righteous path. He conveys this idea to us with the help of a kind of procession in a circle:

    People on various animals move around the lake of carnal pleasures, unable to choose another path. Therefore, according to the artist, their only destiny after death is Hell, which is depicted on the right wing of the triptych.

    Right wing of the triptych. Hell


    Hieronymus Bosch. Right wing of the triptych “Hell”. 1505-1510

    Fourth part (right wing of the triptych). An image of hell in which sinners experience eternal torment. In the middle of the picture strange creature from a hollow egg, with legs in the form of tree trunks with human face- presumably this is a guide to Hell, the main demon. For the torment of which sinners he is responsible, read the article.

    Such common sense warning pictures. The artist shows us how easy it is to fall into sin and end up in Hell, despite the fact that humanity was once born in Paradise.

    Bosch painting symbols

    Why so many characters and symbols?

    I really like Hans Belting's theory on this, put forward in 2002. Based on his research, Bosch did not create this painting for the church, but for private collection. Allegedly, the artist had an agreement with the buyer that he would intentionally create a rebus painting. The future owner intended to entertain his guests, who would guess the meaning of this or that scene in the picture.

    In the same way, we can now unravel the fragments of the picture. However, without understanding the symbols adopted in Bosch's time, it is very difficult for us to do this. Let's deal with at least some of them, so that it would be more interesting to “read” the picture.

    Eating “voluptuous” berries and fruits is one of the main symbols of lust. That is why there are so many of them in the Garden of Earthly Delights.

    People are in glass spheres or under a glass dome. There is a Dutch proverb that says that love is as short-lived and fragile as glass. The depicted spheres are just covered with cracks. Perhaps the artist sees in this fragility also the path to the fall, since after short period love, adultery is inevitable.

    Sins of the Middle Ages

    It is also difficult for a modern person to interpret the depicted torments of sinners (on the right wing of the triptych). The fact is that in our minds, passion for idle music or stinginess (frugality) is not perceived as something bad, in contrast to how people in the Middle Ages perceived it.

    Introduction

    It is this work of Bosch, especially fragments of the central picture, that is usually cited as illustrations, it is here that the unique creative imagination the artist shows himself to the fullest. The enduring charm of the triptych lies in the way the artist expresses main idea through many details.

    The left wing of the triptych depicts God presenting Eve to a stunned Adam in a serene and peaceful Paradise. In the central part, a number of scenes, interpreted in different ways, depict a true garden of pleasures, where mysterious figures move with heavenly calm. The right wing captures the most terrible and disturbing images of Bosch's entire work: complex torture machines and monsters generated by his imagination.

    The picture is overflowing with transparent figures, fantastic structures, monsters that have become hallucinations, infernal caricatures of reality, which he looks at with a searching, extremely sharp look. Some scientists wanted to see in the triptych an image of human life through the prism of its vanity and images earthly love, others - the triumph of voluptuousness. However, the innocence and some detachment with which individual figures are interpreted, as well as the favorable attitude towards this work on the part of the church authorities, make one doubt that the glorification of bodily pleasures could be its content.

    The Garden of Earthly Delights is an image of Paradise, where the natural order of things is abolished and chaos and voluptuousness reign supreme, leading people away from the path of salvation. This triptych by the Dutch master is his most lyrical and mysterious work: in the symbolic panorama he created, Christian allegories are mixed with alchemical and esoteric symbols, which gave rise to the most extravagant hypotheses regarding the religious orthodoxy of the artist and his sexual inclinations.

    Federico Zeri

    central part

    At first glance, the central part is perhaps the only idyll in Bosch's work. The vast space of the garden is filled with naked men and women who feast on gigantic berries and fruits, play with birds and animals, splash in the water and - above all - openly and shamelessly indulge in love pleasures in all their diversity. Riders in a long line, like on a carousel, ride around the lake, where naked girls bathe; several figures with barely noticeable wings soar in the sky. This triptych is better preserved than most of Bosch's large altar images, and the carefree fun floating in the composition is emphasized by its clear, evenly distributed light over the entire surface, the absence of shadows, and bright, saturated color. Against the background of grass and foliage, like outlandish flowers, the pale bodies of the inhabitants of the garden sparkle, seeming even whiter next to three or four black-skinned figures placed in this crowd. Behind the iridescent fountains and buildings surrounding the lake in the background, one can see on the horizon smooth line gradually melting hills. Miniature figures of people and fantastically huge, bizarre plants seem as innocent as the patterns of medieval ornamentation that inspired the artist.

    The main goal of the artist is to show the pernicious consequences of sensual pleasures and their ephemeral nature: aloe digs into naked flesh, coral firmly captures bodies, the shell slams shut, turning love couple in their captives. In the Tower of Adultery, whose orange-yellow walls sparkle like crystal, deceived husbands sleep among the horns. The glass sphere in which lovers indulge in caresses and the glass bell sheltering three sinners illustrate the Dutch proverb: "Happiness and glass - how short-lived they are"

    Charles de Tolnay

    It may seem that the picture depicts the “childhood of mankind”, the “golden age”, when people and animals peacefully existed side by side, without the slightest effort receiving the fruits that the earth gave them in abundance. However, one should not assume that the crowd of naked lovers, according to Bosch's plan, was to become the apotheosis of sinless sexuality. For medieval morality, sexual intercourse, which in the 20th century. finally learned to perceive as a natural part human being, was more often proof that a person had lost his angelic nature and fell low. At best, copulation was viewed as a necessary evil, at worst, as a mortal sin. Most likely, for Bosch, the garden of earthly pleasures is a world corrupted by lust.

    Bosch is absolutely faithful to the biblical texts in his other works, we can safely assume that the central panel is also based on biblical motifs. Such texts can indeed be found in the Bible. Before Bosch, no artist dared to be inspired by them, and for good reason. Moreover, they diverge from the generally accepted rules of biblical iconography, where only a description of what has already happened or what will happen in the future according to Revelation is possible.

    Left sash

    The left wing depicts the last three days of the creation of the world. Heaven and Earth have given birth to dozens of living creatures, among which you can see a giraffe, an elephant and mythical beasts like a unicorn. In the center of the composition rises the Source of Life - a tall, thin, pink structure, vaguely reminiscent of a gothic tabernacle, decorated with intricate carvings. Glittering in the mud gems, as well as fantastic beasts, probably inspired by medieval performances about India, which has captivated the imagination of Europeans with its miracles since the time of Alexander the Great. There was a popular and fairly widespread belief that it was in India that Eden, lost by man, was located.

    In the foreground of this landscape, depicting the antediluvian world, is not a scene of the temptation or expulsion of Adam and Eve from Paradise (as in The Hay Cart), but their union by God. Taking Eve by the hand, God brings her to Adam, who has just woken up from a dream, and it seems that he is looking at this creature with a mixed sense of surprise and anticipation. God Himself is much younger than in other paintings, he appears in the guise of Christ, the second person of the Trinity and the incarnate Word of God.

    Right wing ("Musical Hell")

    The right wing got its name because of the images of the tools used here most in a strange way: one sinner is crucified on the harp, below the lute becomes an instrument of torture for another, the “musician” lying face down, on whose buttocks the notes of the melody are imprinted. It is performed by a choir of damned souls led by a regent - a monster with a fish face.

    If an erotic dream is depicted on the central part, then a nightmarish reality is depicted on the right wing. This is the most terrible vision of Hell: the houses here do not just burn, but explode, illuminating the dark background with flashes of flame and making the water of the lake crimson, like blood.

    In the foreground, a rabbit drags its prey, tied by its feet to a pole and bleeding - this is one of Bosch's favorite motifs, but here the blood from the ripped stomach does not flow, but gushing, as if under the influence of a powder charge. The victim becomes an executioner, the prey becomes a hunter, and this is the best way to convey the chaos that reigns in Hell, where the normal relationships that once existed in the world are reversed, and the most ordinary and harmless objects Everyday life, growing to monstrous proportions, turn into instruments of torture. They can be compared with gigantic berries and birds in the central part of the triptych.

    The literary source of Bosch's Hell of musicians is considered to be the work " Vision of Tundal”(see link below), published in 's-Hertogenbosch in the city, describing in detail the author's mystical visit to Heaven and Hell, from where, apparently, the image of an ice-covered pond originates, along which sinners are forced to invariably slide on shaky sledges or skates.

    On a frozen lake in the middle shot, another sinner balances uncertainly on a huge skate, but he carries him straight to the polynya, where he is already floundering in ice water another sinner. These images are inspired by an old Dutch proverb, the meaning of which is similar to our expression "according to thin ice". A little higher, people are depicted, like midges flocking to the light of a lantern; on the opposite side, "doomed to eternal death" hangs in the "eye" of the door key.

    The devilish mechanism - an organ of hearing isolated from the body - is composed of a pair of giant ears pierced by an arrow with a long blade in the middle. There are several interpretations of this fantastic motif: according to some, this is a hint of human deafness to the words of the Gospel "he who has ears, let him hear." The letter “M” engraved on the blade denotes either the gunsmith’s brand or the initial of the painter, for some reason especially unpleasant to the artist (perhaps Jan Mostaert), or the word “Mundus” (“Peace”), indicating the universal meaning of the masculine principle, symbolized blade, or the name of the Antichrist, which, in accordance with medieval prophecies, will begin with this letter.

    A strange creature with a bird's head and a large translucent bubble absorbs sinners and then throws their bodies into a perfectly round cesspool. There the miser is condemned to defecate forever with gold coins, and the other. apparently, a glutton - non-stop spewing eaten delicacies. The motif of a demon or devil sitting on a high chair is borrowed from the text “The Vision of Tundal.” At the foot of the throne of Satan, next to the flames of hell, a black demon with donkey ears hugs a naked woman with a toad on her chest. The woman's face is reflected in the mirror, riveted to the buttocks of another, green demon - such is the retribution for those who succumbed to the sin of pride.

    External sashes

    External sashes

    Looking at the grisaille images from the outside, the viewer does not yet know what a riot of color and images is hidden inside. In gloomy tones, the World is depicted on the third day after God created it from the great emptiness. The earth is already covered with greenery, surrounded by waters, illuminated by the sun, but neither people nor animals can yet be found on it. The inscription on the left side reads: "He said and it happened"(Psalm 32:9), on the right - "He commanded, and it appeared"(Psalm 149:5).

    Literature

    • Battilotti, D. Bosch. M., 2000
    • Bosing, W. Hieronymus Bosch: Between Hell and Heaven. M., 2001
    • Dzeri, F. Bosch. The Garden of Earthly Delights. M., 2004
    • Zorilla, H. Bosch. Aldeasa, 2001
    • Igumnova, E. Bosch. M., 2005
    • Coplestone, T. Hieronymus Bosch. Life and art. M., 1998
    • Mander, K van. Book about artists. M., 2007
    • Mareinissen, R. H., Reifelare, P. Hieronymus Bosch: artistic heritage. M., 1998
    • Martin, G. Bosch. M., 1992
    • Nikulin, N. N. The Golden Age of Netherlandish Painting. XV century. M., 1999
    • Tolnay, S. Bosch. M., 1992
    • Fomin, G. I. Hieronymus Bosch. M., 1974. 160s. 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 Heresy of Hieronymus Bosch. Edinburgh, 1996
    • Snyder, James. Bosch in perspective. New Jersey, 1973.

    Links

    • Paintings from the Prado Museum in the highest resolution on Google Earth
    • "Garden of Earthly Delights" in the database of the Prado Museum (Spanish)
    Northern Gothic masterpieces
    Painting Trebon altar Diptych of Wilton Dortmund altar Flémal altar of the Annunciation of Merode Ghent altar of the Arnolfini couple Madonna of Chancellor Rolen St. Petersburg Annunciation Descent from the cross Portrait of a woman (Rogier) Melun diptych Jacopo Tania altar of the Seven Joys of Mary Vita Stwosz altar Portinari altar of hay The Garden of Earthly Delights Last Judgment (Bosch) Isenheim altar
    Miniature

    Hell - Hieronymus Bosch (Part of the triptych "The Garden of Earthly Delights"). 1500-1510. Wood, oil. 389 x 220 cm


    Hell is the right wing of the artist's most famous triptych called The Garden of Earthly Delights. Under this lyrical name lies a far from cute and idyllic picture. In fact, the triptych is made quite in the style of Bosch - terrible visions, grotesque figures, terrible images are almost everywhere here.

    In the artist's vision, hell appears as a monstrous surreal place. The right wing of the triptych is often referred to by critics as " musical hell» due to the fact that many different musical instruments. However, one should not hope that they are used for their intended purpose. In fact, they are not even played by the devils, as one might suspect. Bosch decided to use ways of using them that are completely far from the direct purpose of musical instruments. In most cases, they act as torture devices.

    For example, the artist's harp plays the role of a cross for crucifixion or a rack - an unfortunate sinner is flattened on it. An innocent lute has become the subject of torture for another poor fellow, who lies face down. It is interesting that notes are printed on his buttocks, according to which an absolutely unimaginable choir sings - cursed, led by a conductor with a fish "face".

    The foreground of the picture is able to shock even those hardened by "horror films" modern man. A rabbit is dragging a man with an open stomach, who is tied to a pole. At the same time, a stream of blood literally beats out of the poor fellow. The predatory rabbit looks very peaceful, and this is a truly monstrous contrast compared to what he does and what his action should imply in the future.

    The abnormality of this place is emphasized by the incredible size of berries and fruits scattered here and there throughout the door. When you look at this, it is not clear who is eating whom here - people are berries or people are berries? The world turned upside down and became hell.

    A frozen pond with a polynya, where a sinner rushes on a huge horse, people flying into the world like brainless midges, a man door lock- all these images are allegorical and, of course, were understandable to the artist's contemporaries. Some of what he saw is quite possible to interpret and interpret in our days, but already from the point of view of a person of modernity, and not of the late Middle Ages.

    Interestingly, the researcher of Bosch's work was able to decipher the notes engraved on the fifth point of the sinner. It turns out that the artist recorded a quite coherent melody that can be played and listened to. But this is the only normal real element in the delusional world of his hell.


    canvases Dutch artist Hieronymus Bosch are recognizable for their fantastic plots and delicate details. One of the most famous and ambitious works of this artist is the triptych "Garden of Earthly Delights", which for more than 500 years has been controversial among art lovers around the world.

    1. The triptych is named after its central panel



    IN three parts one Bosch paintings tried to portray the entire human experience - from life on earth to the afterlife. Left panel the triptych depicts heaven, the right one depicts hell. In the center is the Garden of Earthly Delights.

    2. The date of creation of the triptych is unknown

    Bosch never dated his works, which complicates the work of art historians. Some claim that Bosch began painting The Garden of Earthly Delights in 1490, when he was about 40 years old (his exact year of birth is also unknown, but it is assumed that the Dutchman was born in 1450). And the grandiose work was completed between 1510 and 1515.

    3. "Paradise"

    Art critics say that Garden of Eden depicted at the time of the creation of Eve. In the picture, it looks like an untouched land inhabited by mysterious creatures, among which you can even see unicorns.

    4. Hidden meaning


    Some art historians believe that the middle panel depicts people who have gone mad for their sins, who miss their chance to gain eternity in heaven. Bosch depicted lust with many naked figures engaged in frivolous activities. It is believed that flowers and fruits symbolize the temporary pleasures of the flesh. Some have even suggested that the glass dome, which covers several lovers, symbolizes the Flemish saying "Happiness is like glass - it breaks once."

    5. Garden of Earthly Delights = Paradise Lost?

    A rather popular interpretation of the triptych is that it is not a warning, but a statement of fact: a person has lost Right way. According to this interpretation, the images on the panels should be viewed sequentially from left to right, and not consider the central panel as a fork between hell and paradise.

    6. Secrets of the painting

    The side panels of the heaven and hell triptych can be folded over to cover the central panel. On outside side panels depict the last part of the "Garden of Earthly Delights" - the image of the World on the third day after creation, when the Earth is already covered with plants, but there are no animals or humans yet.

    Since this image is essentially an introduction to what is depicted on the interior panel, it is done in a monochrome style known as grisaille (this was common in triptychs of the era, and was intended not to detract from the colors of the exposed interior).

    7. The Garden of Earthly Delights is one of three similar triptychs that Bosch created.

    Bosch's two thematic triptychs, similar to the Garden of Earthly Delights, are The Last Judgment and The Hay Cart. Each of them can be considered chronological order left to right: biblical creation of man in the Garden of Eden, modern life and her mess horrible consequences in hell.

    8. One part of the picture shows Bosch's devotion to the family.


    About life Dutch artist era early renaissance very few reliable facts have survived, but it is known that his father and grandfather were also artists. Bosch's father Antonius van Aken was also an advisor to the Illustrious Brotherhood Holy Mother of God- groups of Christians who worshiped the Virgin Mary. Shortly before starting work on The Garden of Earthly Delights, Bosch followed the example of his father and also joined the brotherhood.

    9. Although the triptych is religious, it was not painted for a church.

    Although the artist's work is clearly made with a religious theme, it was too strange to be exhibited in a religious institution. It is much more likely that the work was created for a wealthy patron, possibly a member of the Illustrious Brotherhood of the Blessed Virgin.

    10. The painting may have been very popular at the time.

    The "Garden of Earthly Delights" was first mentioned in history in 1517, when the Italian chronicler Antonio de Beatis noted this unusual canvas in the Brussels Palace of the House of Nassau.

    11. The word of God is shown in the picture with two hands

    The first scene is shown in paradise, where God raised right hand brings Eve to Adam. The Hell panel has exactly the same gesture, but the hand points dying players to hell below.

    12. The colors of the painting also have a hidden meaning.


    Pink color symbolizes divinity and the source of life. Blue color refers to the Earth, as well as earthly pleasures (for example, people eat blue berries from blue dishes and frolic in blue ponds). Red represents passion. Brown color symbolizes the mind. And finally, green, which is ubiquitous in Paradise, is almost completely absent in Hell - it symbolizes kindness.

    13. The triptych is much bigger than everyone thinks

    The triptych "Garden of Earthly Delights" is actually just huge. The dimensions of its central panel are about 2.20 x 1.89 meters, and each side panel is 2.20 x 1 meter. The unfolded width of the triptych is 3.89 meters.

    14. Bosch made a hidden self-portrait in a painting

    This is just a guess, but art historian Hans Belting has suggested that Bosch depicted himself on the Hell panel, split in two. According to this interpretation, the artist is a man whose body resembles a cracked eggshell, smiling ironically while looking at the scenes of hell.

    15. Bosch earned a reputation as an innovative surrealist thanks to the "Garden of Earthly Delights"


    Until the 1920s, before the advent of Bosch admirer Salvador Dali, surrealism was not popular. Some contemporary critics Bosch is called the father of surrealism, because he painted 400 years before Dali.

    Continuing the theme mysterious paintings we will tell about that - the most mysterious of all strangers.

    towering over everything gothic Cathedral of Saint John, which has an almost hypnotic effect on the people of that time, who lived in terrible religious fear of hellish torments for earthly sins ...

    in the dark world of the Inquisition and endless wars...

    darkness descended on this world, covering everything around, leaving only animal horror ...

    Only one thing could save their souls - frantic prayers, raising their eyes to heaven ...

    Bosch, being a deeply religious person, created his creations following the Bible word for word. He, like everyone living in the 15th century, honored and knew her by heart, believing in God and the devil, sins and temptations, and besides, he was a member of a religious fraternity that preached strict adherence to religious dogmas. In his works, the artist gives morality to his and future generations, encrypted in symbols and, at first glance, seemingly incomprehensible, fantastic stories. But, everything becomes clear, one has only to learn more about the time when the artist lived than he breathed, what disturbed him, immerse himself in his paintings, the atmosphere of that era in order to understand his feelings and aspirations, and, of course, you need to know perfectly Bible.
    We will do it, or rather we will try, all together, just carefully study and consider every centimeter of his greatest creation - "The Garden of Earthly Delights"(by the way, the name of the picture was not given by the author).

    To understand, one must feel. Let's get started!

    Psalm 32

    “6. By the word of the Lord the heavens were created, and by the spirit of the mouth
    His is all their host:
    7. He collected, like heaps, sea ​​waters, put
    abysses in the vaults."
    Psalter

    The picture is filled with symbols, woven from them, where one smoothly flows into another ... It is known that Bosch uses the symbols generally accepted in the Middle Ages bestiary- "unclean" animals: in his paintings there are camel, hare, pig, horse, stork and many others. Toad, in alchemy denoting sulfur, is a symbol of the devil and death, like everything dry - trees, animal skeletons.

    Other common symbols:

    . ladder- a symbol of the path to knowledge in alchemy or sexual intercourse;
    . inverted funnel- an attribute of fraud or false wisdom;
    . key (often not designed to open) - knowledge or sexual organ;

    . severed leg, traditionally associated with mutilation or torture, and Bosch also associated with heresy and magic;
    . arrow- thus symbolizes "Evil". Sometimes it sticks out across the hat, sometimes it pierces bodies, sometimes it is even stuck in the anus of a half-naked person (which also means a hint of "Corruption");

    . owl- in Christian paintings it can be interpreted not in the ancient mythological sense (as a symbol of wisdom). Bosch portrayed an owl in many of his paintings, he sometimes introduced it in contexts to persons who behaved insidiously or indulged in mortal sin. Therefore, it is generally accepted that the owl serves evil as a night bird and predator and symbolizes stupidity, spiritual blindness and the ruthlessness of everything earthly.

    . black birds- sin

    A significant number of Bosch's symbols are alchemical. Alchemy V late middle ages was a peculiar phenomenon of culture, clearly bordering on heresy, a fantastic version of chemistry. Its adherents sought to transform base metals into gold and silver with the help of an imaginary substance - the "philosopher's stone". Bosch gives alchemy negative, demonic features. The alchemical stages of transformation are encrypted in color transitions; jagged towers, trees hollow inside, fires, being symbols of Hell, at the same time allude to fire in the experiments of alchemists; a hermetic vessel or a melting furnace are also emblems of black magic and the devil.

    We see references to bible.

    Here God creates our world, observing from the side (see the upper part on the left. On reverse side triptych).

    "... but steam rose from the earth and irrigated the whole face of the earth."
    Bible, Old Testament

    Bosch knew only the Latin version, where the steam was listed as a fountain, so in the center of the picture we see fountain.

    In many pictures we can see his face, he seems to be watching the reaction of the viewer, trying to catch the mood, wanting to understand whether his stories help in understanding common truths, in human weaknesses and his desire to fight them to the end.

    Hieronymus Bosch " Prodigal son", OK. 1510. Boijmans-van Beuningen Museum. Rotterdam

    The general picture of naked bodies now seems to be something lustful, perverted, but it's not...

    Bosch exposes human vices through naked people, because in the day doomsday we will all appear as we came into this world, without anything, nothing will be hidden from God.

    The artist condemns the world for its vices and sins.

    selfishness

    Greed

    Gluttony

    Birds- a symbol of vice. Bosch uses them to attack the church, which condones the development of all these vices.

    At that time they developed sects, we see them as several groups that move counterclockwise. (see people walking in circles)

    He contrasts the two doctrines with each other: theology with his short-sightedness and useless arguments, leading a cardinal in red, associated with the eternal admiration of Rome. AND pure faith brotherhood, on the other hand, symbolizing his true dogmas.

    At the top right we see three people under a transparent dome, monk and his disciples who look with horror at this sinful world.

    Fear of unbridled music, not religious and not honoring Christ and God. Here's what will happen to them.

    Each of the details is significant, and there is no end to them.

    His paintings were painted with the aim edification. The artist wanted to arouse curiosity, the audience had to ask questions, get answers - they were learning.
    Interestingly, thirty years after the death of Bosch, Pieter Brueghel the Elder ordered paintings in the style of Bosch. In 1557 he writes cycle of seven engravings with Deadly sins And. I will cite some of them.

    Envy, 1558

    Gluttony, 1558

    Avarice, 1558

    Subsequently, this style was called « wicked joke» , and the artist himself received the nickname "Peter the Clown". Everyone who subsequently collected paintings by Bosch was considered strange, for example, the king Philip II, who was sure that this was a satire on everything sinful, not considering Bosch's work as heretical, as he was perceived at that time.
    A Siguenza He assessed Bosch's work in this way:

    "The difference between this man's work and the work of other artists is that others try to portray people as they look on the outside, but he has the courage to portray them as they are on the inside."

    And in the 20th century, his paintings receive a second life through the prism of the theories of Freud and Jung. His sexy and depraved nudity attracts the attention of our contemporaries, but this is NOT what he wanted to say, being a devout Catholic.

    Another meaning was invested, completely different ...

    P.S. During the study of the artist's work and his paintings "The Garden of Earthly Delights" accidentally stumbled upon one entertaining story according to one of the fragments, it's up to you to believe or not.

    One of the visitors, a student named Amelia Hamrick from Oklahoma Charist University, became interested in the notes depicted on the bottom of a man lying down, and asked a "childish" question: "And what are those notes?"
    But she didn't get an answer. Nowhere. The student was surprised by such a sluggish interest in the picture, filled with allegories and symbols. Then she decided to restore the melody herself.
    Based on the fact that in medieval chorales the most popular key was C major, Amelia rewrote the notes in modern system. In the picture, the durations are not indicated, so the student did not make any guesses in this regard. And here is what she did in the performance of the choir of students of the Christian University.



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