Description of the painting with symbols and signs. Michelangelo, "God separating light from darkness"

We offer you a selection of ten masterpieces of painting in which secret signs were found.

1. "Mona Lisa": there is a hidden code in her eyes

As a rule, the power of the Mona Lisa is attributed to the intriguing smile depicted on the woman’s face. However, historians from Italy have discovered that if you look at Gioconda's eyes under a microscope, you can see letters and numbers in them.

Experts say these subtle numbers and letters represent something like the "Da Vinci Code" in real life: the letters "LV" are visible in the right eye, which could very well represent the name of the artist, Leonardo da Vinci, and there are symbols in the left eye too , but they have not yet been identified. It is very difficult to see them clearly, but most likely they are either the letters "CE" or the letter "B".

In the arch of the bridge in the background you can see the number 72, or it could be the letter "L" and two. In addition, the painting shows the number 149 with the four erased, which may indicate the date of creation of the painting - da Vinci painted it during his stay in Milan in the 1490s.

It is important to remember that the painting is almost 500 years old, so the hidden signs are not visible as clearly and clearly as they might have been immediately after its creation.

2. “The Last Supper”: hidden in the picture are mathematical and astrological puzzles and a musical melody

The Last Supper has been the subject of much speculation, usually centered on supposed hidden messages and hints encrypted in the painting.

Slavisa Pesci, an information technologist, achieved an interesting visual effect by superimposing a mirrored, translucent version of the painting on top of the original. As a result, two Templar-like figures appeared at both ends of the table, and another person became visible to the left of Jesus - possibly a woman holding a baby in her arms.

The Italian musician Giovanni Maria Pala pointed out that the position of the hands and bread can be interpreted as notes in a piece of music, and if read from right to left, as was typical of Leonardo's writing style, they form a musical composition.

Vatican researcher Sabrina Sforza Galizia says she has deciphered the "mathematical and astrological" puzzle contained in The Last Supper. According to her, the artist predicted a global flood and the coming end of the world, which would begin on March 21, 4006 and end on November 1 of the same year - she believes that this will be the beginning new era for humanity.

3. "The Creation of Adam": divine origin reason

"The Creation of Adam" by Michelangelo has stood the test of time not only as the most famous fresco Sistine Chapel, but also as one of the most iconic images in human history.

Michelangelo is recognized as one of greatest artists and sculptors of the era Italian Renaissance, however, it is not so widely known that he carefully studied anatomy and, at the age of 17, dismembered corpses dug up in a church cemetery.

American neuroanatomy experts believe that Michelangelo actually used some anatomical knowledge when working on the frescoes of the Sistine Chapel.

Although some may consider this a coincidence, experts suggest that Michelangelo could not have painted such a thing by accident: in the fresco you can even see the outlines of such complex parts of the brain as the cerebellum, optic nerve and pituitary gland. And in the very figure of Adam, stretching out his hand to God, one can see the outlines of the pons and spine.

4. Sistine Chapel frescoes: some of them show parts of the human brain

As with the Creation of Adam, among the frescoes of the Sistine Chapel there is another painting of the figure of God containing a secret message.

Experts have noticed that God's chest and neck have anatomical irregularities that no other human figure in the paintings has. In addition, while most of the figures are illuminated diagonally from the lower left edge, the sun's rays fall on God's neck at a right angle - the researchers came to the conclusion that the genius made such an inaccuracy intentionally.

If we superimpose the image of God's strange neck on a photograph of a human brain, it becomes clear that the contours of both images are almost exactly the same, and the strange rectangle of tissue extending to the center of God's robe may symbolize the spinal cord.

Michelangelo also depicted other anatomical features in some places on the ceiling, particularly the kidney, which was of particular interest to Michelangelo as the artist suffered from kidney stones.

5. “Madonna with Saint Giovannino”: UFO traces

“Madonna with Saint Giovannino” by Domenico Ghirlandaio has an interesting detail: a strangely shaped drop is floating in the sky above Mary’s left shoulder.

In this place of the picture, a board-shaped object, possibly shiny, is clearly visible - the artist depicted this object to the smallest detail, trying to place it in his work so that it catches the eye. Additionally, on the right side of the painting we see a man raising his right hand to his eyes, showing how bright this object is, and in the upper left corner we see an object that looks like the sun.

Madonna with Saint Giovannino is just one of many medieval paintings that depict strange, disturbing unidentified flying objects hovering in the skies.

6. “The Prophet Zechariah”: the power of religion

The tension between Pope Julius II and Michelangelo is described in historical documents. Historians note that Michelangelo depicted the pope in one of his paintings as the prophet Zechariah, and one of the angels behind him shows an extremely obscene gesture.

A figure in which the fingers of a charming one are folded small child, is called "fig", but its meaning is not at all as sweet as the name: holding thumb between the index and middle fingers, it shows an old world gesture that has retained its meaning to this day. In the West, the gesture is not so common, but in Russia its meaning is well known.

7. “David and Goliath”: mystical signs of Kabbalah

Analyzing the arrangement of figures on the ceiling of the Sistine Chapel, which covers an area of ​​1,300 km², scientists have discovered shapes similar to Hebrew letters: for example, the figures of David and Goliath form the letter “gimel”, symbolizing “strength” in the mystical tradition of Kabbalah.

Researchers believe that Michelangelo became acquainted with Judaism during his stay at court Lorenzo Medici in Florence, and the entire Sistine Chapel, perhaps built to the same proportions as the Holy Temple in Jerusalem, is a "lost mystical message of universal love" meant to be deciphered.

8. “Flemish Proverbs”: the film contains 112 Dutch idioms

Flemish Proverbs is an oil on oak panel painting by Pieter Bruegel the Elder, filled with symbols relating to Dutch proverbs of the time.

A total of 112 idioms were found and deciphered in the painting: some of them are still used today, for example, “swim against the tide”, “big fish eat little fish”, “bang your head against the wall” and “arm yourself to the teeth”.

Other proverbs point to human stupidity. Some symbols seem to convey the meaning of more than one figure of speech, for example, the man shearing sheep to the left of center at the bottom of the picture sits next to a man slaughtering a pig, and this scene symbolizes the expression "Someone is shearing sheep, and someone else is - pigs,” which means that one person has an advantage over others. The scene can also mean “Cut, but don’t skin,” that is, it warns not to go too far when using your abilities.

9. “Supper at Emmaus”: Christian vow of silence

“Supper at Emmaus” - painting by Caravaggio, Italian artist Baroque era. The painting depicts the moment when the resurrected Jesus is incognito in the city of Emmaus, but meets two of his disciples there and breaks bread with them, after which they recognize him.

The picture is unusual in that the figures of people are depicted on a dark empty background in life-size, and at the very edge of the table there is a basket of food, which seems about to fall. There is also a strange shadow, similar to the silhouette of a fish, which may indicate a vow of silence as obligatory for Christians.

10. “Portrait of Young Mozart”: signs of the Masons

Of course, works of art have not avoided the theme of Freemasonry: portraits of people hiding their hands can indicate dedication to a cause or level of hierarchy. An example is the portrait of Mozart painted by Antonio Lorenzoni.

The word “symbol” has the following basic meaning in relation to art: something that serves as a symbol for a concept or idea.

A symbol can be designated by a number, property, or shape. For example, the number 7 is a symbol of perfection and completeness (seven days in each phase of the moon, seven colors of the rainbow, seven notes, seven days of the week, seven virtues, seven deadly sins, seven sacraments); blue (the color of the sky) is a symbol of everything spiritual; the shape of a circle, reminiscent of the sun and moon, is a symbol of divine perfection.

Another group of symbols are objects, phenomena, or actions, as well as artistic images that embody an idea. For example, an olive branch is a symbol of peace, a narcissus flower is a symbol of death, a baby is a symbol of the human soul. Light is a symbol of spiritual insight, divine grace; rainbow (meeting of Heaven and Earth) is a symbol of the reconciliation of God with people, the forgiveness of human sins. Weaving symbolizes the creation of the world, the universe, the determination of the destinies of all things; fishing - proselytizing (Christ taught his disciples to be “fishers of men”). Artistic image centaur - a symbol of base passions, strife (if depicted with a quiver, arrows and a bow), in religious compositions - a symbol of heresy.

The appearance of symbols is not accidental; it is associated with external signs of an object and always reflects its deep essence. For example, an owl is a night bird, so one of its symbolic meanings is sleep, death.

Many symbols have multiple meanings: for example, a dog is a symbol of fidelity (if depicted at the feet of spouses), a symbol of baseness and shamelessness in ancient scenes. As a guardian of the flock, the dog represents the good shepherd, bishop or preacher. A black dog in medieval art signified unbelief and paganism. As can be seen from this example, the meaning of a symbol often depends on the era, religion, and culture 1. But this book uses the meanings of symbols that are accepted in the European tradition, since it provides an analysis of works only European art. If a symbol has multiple meanings, then one must take from its meanings that corresponds to the general structure, the spirit of the picture, does not contradict it and does not destroy it.

Symbols are an integral part of human thinking, consciousness, and lie at the core of the human mind. The hieroglyphs of the ancient Egyptians, Chinese and Japanese are symbols that contain entire complex concepts, sometimes complete sentences.

The symbol was actively used in art until the second half of the 19th century and only then became very rare.

A symbol usually appeals not only to the mind, but also to a person’s feelings, his subconscious, and gives rise to complex associations. That is why symbols were so often and naturally used in art, especially in painting. There are a lot of symbols in the paintings of Mantegna, Giovanni Bellini, Botticelli, Jan Steen, Rubens and others, especially Dutch and Flemish artists.

“Venius was especially famous for his knowledge of symbols, such artistic images with the help of which abstract ideas could be visually conveyed. Such symbols are now used very rarely in painting, so few of us are aware of them. For example, a dove with an olive branch signifies peace, scales - justice, laurel wreath - victory. However, in the 16th century, the propagation of ideas through symbols was an accepted form of art, both popular and sublimely intellectual. Saints, of course, had their own attributes. The symbol of St. Catherine was the wheel on which she suffered torture, Mary Magdalene - a vessel with spikenard ointment, with which she anointed the feet of Jesus, for St. Jerome - a lion with whom he became friends in the desert.But even in portraits, allegories and secular paintings they were used various symbols, serving as wordless comments. In the paintings, birds, flowers and animals were depicted with a very specific purpose. The hare meant vigilance, the cat meant freedom, and the snake meant wisdom. Different flowers indicated different virtues, and if their petals fell, it meant the ephemerality of youth and beauty.

Each artist was required to know such symbols, and there were even special textbooks to explain them. Not too confusing symbols delighted everyone; educated people liked to decipher the hidden meaning of the images in the paintings. Such a learned game gave interest to even the most mundane work..." 2

We learn about how many symbols Rubens knew and used in his work from his letter to Justus Sustermans dated March 12, 1638 3 . It is interesting that in this letter Rubens, explaining the meaning of his painting “The Disasters of War,” indicates the meanings of so many symbols from memory, even without having the picture in front of his eyes, and calls his explanation brief.

Let's turn to the Dutch still life artist XVII century by Jan de Heem "Memento mori" from Dresden gallery. At the first cursory glance at this picture, attention is immediately drawn to itself. beautiful bouquet garden flowers. He occupies almost the entire space of the picture and is its main “character”. But, barely taking a closer look, we notice some oddities in the choice and depiction of objects located near the bouquet: it is very unusual that next to it the artist placed a skull, a shell, crumpled and torn paper with a clear inscription “Memento mori”, which means: “Remember of death". In addition to this direct call, the skull also reminds us of death, since it is a symbol of the fragility and frailty of our life. All the numerous details of this picture speak about it, about death, about its inevitability. Let's take a closer look and see that Jan de Hem depicted a fading bouquet: the petals of the tulips have faded and withered, the poppy has completely withered, and other flowers are touched by withering. A wilting bouquet in itself signifies the fragility of our life. In addition, the artist carefully depicted many worms and insects eating petals, stems and leaves. And worms are symbols of decay and destruction; flies symbolize damage; butterflies - transience, the shortness of our stay on earth. So, almost all the considered elements of the composition of this still life indicate how a believing artist persistently instills in us the idea that a person with all his earthly aspirations and concerns, which are symbolically indicated by a set of different colors, is only a temporary guest on earth. But the shell, a symbol of pilgrimage, an attribute of Saint Roch and James the Elder, directs the viewer’s thought to the lofty, incorruptible and eternal. But only the spiritual is eternal; our soul is immortal. Now it becomes clear ideological content paintings: do not forget, man, that you are mortal, and during your life save your soul in order to avoid the torment of hell in the next world.

Artist Jan de Heem's thoughts about human life echo the commandments of Christ from His Sermon on the Mount:

“Do not lay up for yourselves treasures on earth, where moth and rust destroy and where thieves break in and steal, but lay up for yourselves treasures in heaven, where neither moth nor rust destroys and where thieves do not break in and steal.” (Matt. 6:19–20).

Play a big role symbolic details and in portrait. Let's consider magnificent portrait E. S. Avdulina, work by O. A. Kiprensky.

In this portrait the artist presented us with a young beautiful woman who is thinking so deeply about something sad that she seems completely detached from everything around her. Fragile and dreamy, she seems out of this world. And all the details of the portrait emphasize this state of detachment from the outside world. On E. S. Avdulina black dress, which almost merges with the general dark background of the picture, and the black color means oblivion of all the worries, anxieties and worries of the surrounding everyday reality, renunciation of it. That is why the color of monastic robes is black. Avdulina is wearing a pearl necklace. Pearl in Christian symbolism means both wealth of spirit and grief, sadness. And if Avdulina herself is the embodiment of fragile young beauty and spirituality, then the dark thunderclouds and the road, barely visible in the twilight, gently rising up the hill symbolize the difficult life path and evoke the idea of ​​the fragility and defenselessness of spiritualized beauty in our harsh world. A sprig of hyacinth standing alone in a glass of water speaks volumes, reminding us of the sad legend about the absurd death of the young favorite of the god Apollo, who after his death was transformed into this beautiful flower. The white color of hyacinth, as in general White color, is a symbol of both moral purity and death, and the fact that the flower withers and crumbles means the transience of youth and beauty. The folded and lowered fan in the hand of E. S. Avdulina also symbolizes disappearance. This fan symbolism is associated with the lunar phases (non-existence, emergence, increase, full existence, decrease, disappearance). In a word, when carefully and thoughtfully examining the portrait of E. S. Avdulina, you come to the conclusion that while working on it, the artist was possessed by sad thoughts, which can be briefly expressed in the words of Friedrich Schiller:

Everything beautiful perishes in its best color,
Such is the lot of beauty in the world.

Jacob van Ruisdael often used symbolism in his powerful philosophical landscapes. A striking example of this is his famous “Jewish Cemetery” from the Dresden Gallery.

The picture perfectly shows how the author's creative imagination changes nature to express the idea. Two drawings by Ruisdael from life have been preserved (Theyler Museum, Haarlem), depicting a Jewish cemetery. However, many changes have been made to the painting compared to the drawings. When creating it, Ruisdael retained from his drawings the outlines of the tombs of the former physician of the French king Henry IV, the chief rabbi of Amsterdam and a wealthy citizen, but instead of a gentle plain, hills appear, as well as a stream, dry trees, and a rainbow. There is no doubt that the introduced details have symbolic meaning, serve to express the idea of ​​the painting.

Anxious, tense sunlight, breaking through heavy thunderclouds, illuminates the foreground of the picture: grave monuments made of polished marble, huge dry wood, rotten stump on the bank of a stormy stream. Behind, in the stormy twilight, the ruins of some majestic structure are visible.

Against the background of ruins and dried trees (symbols of death), the rich tombs seem to be a challenge to eternity, oblivion, the irreversible flow of time, which symbolizes the stream. They personify human vanity and pride. But the gloomy mood of the picture, traces of death and destruction, cracks in the tombstones indicate that these durable and expensive structures cannot escape the common fate. The poems of G. R. Derzhavin involuntarily come to mind:

The river of times in its aspiration
Takes away all people's affairs
And drowns in the abyss of oblivion
Nations, kingdoms and kings.

And if anything remains
Through the sounds of the lyre and trumpet,
Then it will be devoured by the mouth of eternity
And the common fate will not go away.

But not everything is so hopeless. The two hills in the picture serve not only as a symbol of the immutability and inviolability of the laws of existence. They also symbolize the “path to heaven,” the path to spiritual elevation, and are an attribute of a calm, spiritual, peaceful existence (since the mountain fills the spirit with a sense of height and frees it from petty aspirations). “Let the mountains bring peace to men, and the hills righteousness” (Psalm 71:3). The water in the stream symbolizes cleansing, washing away sin and awakening to a new spiritual life. And most importantly, on the left side of the picture, above a hill overgrown with green grass (in Christianity, green is a symbol of immortality, hope, the growth of the holy spirit in man), we see a double rainbow, which simultaneously symbolizes both the throne of heavenly court and the reconciliation of God with people . All these symbols indicate the possibility of purification, salvation and eternal life by curbing sinful passions and observing God's commandments.

So, Ruisdael's painting is a discussion about the meaning of human life. According to the famous landscape painter Constable, the painting during the author’s lifetime was called “An Allegory of Human Life.” It is vain for man to hope to gain immortality, eternal memory, creating material monuments. Everything is perishable on earth. And eternal life, salvation is achievable only through spiritual life, sincere faith in God, and a virtuous short earthly existence.

We will also give examples of the use of symbols in literature.

In the first song of “Hell”, Dante tells how, halfway through his life, he got lost in a dark forest. With great difficulty he reached the hill, hoping from the top of it to determine the right path for himself and get out of the forest, but from there three terrible animals came out to meet him: a lynx, a lion and a she-wolf. Frightened and afraid of completely dying in the dark forest, Dante turned for help to the great Roman poet Virgil, who, very opportunely, suddenly appeared in front of the frightened Italian poet. And Virgil helped Dante escape from predators and get out of the forest darkness, for which he offered him a journey through all the circles of hell and purgatory, so that, having become wiser on this journey, he would henceforth walk only the right path.

There are a lot of symbols in this allegory. The gloomy forest is a symbol of Italian society mired in vices and internecine strife; illuminated by rays rising sun the hill is the found path of salvation; the three predators blocking the approach to the hill are, according to Dante, the three main human vices: voluptuousness (lynx), pride (lion) and greed, self-interest, greed (she-wolf) 4. These vices are the main source of evil in the world. Dante, as a true forerunner of the Renaissance, sees salvation from them in knowledge. Therefore, he chooses Virgil as a guide in his search for truth, making him a symbol of reason and statesmanship, because he revered this great poet above all others.

The abundance of symbols makes Dante's Divine Comedy difficult to understand modern reader: to understand the text, he needs to constantly refer to the comments, but such reading becomes boring if there is no thirst for knowledge. But all educated contemporaries of Dante and Italians of the Renaissance read this work with pleasure and discussed it even on the streets. The anonymous biographer of Leonardo da Vinci reports that a society of respectable people in Florence discussed one passage from Dante 5 at the Church of Santa Trinity.

There are a lot of symbols in Goethe's tragedy "Faust", especially in its second part.

Symbols are also used in architecture. Very expressive, for example, symbolism Orthodox churches. The building of the temple always expresses a certain Christian idea and can have the shape of a cross, since Jesus Christ was crucified on the cross; the shape of a circle (symbol of the ideal and eternal); the shape of a ship (this means that the church, like a ship, helps people sail safely through the stormy sea of ​​life to a quiet, happy harbor of spiritual self-development and virtuous life). The number of chapters on the temple is also symbolic. If a temple has one dome, it means it is dedicated to the Lord Jesus Christ. Two chapters remind us of the dual nature of Christ: God and Man. The three heads of the temple indicate the three faces of the Holy Trinity; five chapters mean Jesus Christ and the four evangelists; seven chapters - seven holy sacraments and seven Ecumenical Councils; thirteen - Jesus Christ and 12 apostles. The cross crowning the temple is a symbol of the Christian faith and divine presence. And the cross, combined with an anchor and resting on a ball, symbolizes the main Christian virtues: faith, hope, love.

Symbolism is also present in the rite of worship itself; for example, the clothes of the clergy are symbolic 6 . “The instructions remind clergy that when they perform the sacraments or participate in the celebration of the sacraments of the faith of Christ, they do not do so on our own, but by the power and grace of God. The guards also resemble the bonds (ropes) on the hands of the Savior during His suffering... The belt also signifies the Divine power that strengthens the clergy in their service. The belt also resembles the towel with which the Savior girded when washing the feet of His disciples at the Last Supper." 7

In short, for an art lover, knowledge of symbols and the opportunity to turn to special literature on symbolism are simply necessary for a complete and deep understanding of the moral and philosophical content works of art, which lies behind their external form.

Notes:

1. Knowledge of the peculiarities of symbolism and allegorical motifs of the country and era can even help with the attribution of paintings. The brilliant master of attribution Irina Vladimirovna Linnik writes about this.
“Knowledge of the most typical allegorical symbols beloved in Holland can be very helpful in identifying the work of the Dutch school.”
"... such persistent motifs that have an allegorical meaning, such as a girl releasing a bird from a cage or box, giving a bird, beaten or alive, a beaten hare, sausages or a fish taken by the tail (all of the above is associated with very common, sometimes crude erotic symbolism) , a girl receiving or reading a letter in a room with a sea view hanging on the wall (the sea, with its variability and inconstancy, is synonymous with love); a woman holding a bunch of grapes by the stem (in Dutch emblems - a symbol of marital virtue and moral purity) - meet, with rare exceptions, only among the Dutch."
"Pocket watches have also entered the iconography of classical Dutch still life like "Breakfasts". They symbolized the idea of ​​"moderation" here. At the same time, the Dutch’s special love for carefully depicting the smallest details determined their resort to depicting an open clock mechanism, which, perhaps, was beyond the capabilities of artists of other schools. Thus, iconographic features can suggest the direction of searches when determining the author of a still life."
I. Linnik. " Dutch painting 17th century and problems of attribution of paintings". Leningrad, "Art", Leningrad branch, 1980. pp. 44, 47.

2. K. W. Wedgwoot. "The World of Rubens. 1577–1640". Per. from English L. Kanevsky. - M.: TERRA - Book club, 1998 - (Art Library). Page 13–14.

How great was the interest in symbolism in the 17th century is also reported by I. V. Linnik: “Interest in symbolism, emblems in XVII century generally greater than ever. Suffice it to mention that of the two hundred and fifty books on emblems that appeared during the period from 1531 to the middle of the 18th century, one hundred and sixty-eight were published in the 17th century, and Holland was here, perhaps, ahead of other countries, and these books were written by such the largest and most popular Dutch poets like Jacob Kats and Joost van Vondel."
I. Linnik. "Dutch painting XVII century and the problem of attribution of paintings". Leningrad, "Art", Leningrad branch, 1980. Page 44

3. Rubens writes: "...However, I will briefly explain the scene, since you wish it. The main figure is Mars, who emerges from the open temple of Janus (which, according to Roman custom, was locked in peacetime) and walks with a shield and a bloody sword , threatening the peoples with great disasters and not paying attention to his beloved Venus, who, surrounded by cupids and cupids, tries to hold him with caresses and kisses. On the other hand, the fury Alecto, with a torch in his clenched hand, carries away Mars. Next to them are the inseparable companions of war - Famine and Plague. A woman with a broken lute is thrown prostrate to the ground, this is Harmony, which is incompatible with strife and war. A mother with a baby in her arms testifies that abundance, fertility and mercy suffer from war, the corrupter and destroyer of everything. In addition, there there is also an architect who fell with his tools, for what the world erects for the beauty and convenience of large cities, the violence of arms destroys and throws down.Further, if my memory serves me correctly, Your Grace will see on the ground under the feet of Mars a book and drawings; By this I wanted to point out that war despises literature and other arts. There should also be an untied bundle of spears or arrows with a rope connecting them. Linked together, they serve as an emblem of harmony, as well as the caduceus and olive branch - a symbol of peace; I depicted them lying right there. A mournful woman in mourning clothes, under a torn veil, without jewelry or any adornment - this is unfortunate Europe, which for so many years has been suffering from robberies, violence and disasters of all kinds, harmful to each of us and therefore not requiring explanation. Its distinctive sign is a globe supported by an angel or genius and surmounted by a cross, the symbol of Christendom."
Peter Paul Rubens. Letters, documents, judgments of contemporaries. Translations. Translation by A. A. Akhmatova, N. V. Braginskaya, K. S. Egorova. Comp., will join. article and notes K. S. Egorova. M., "Art", 1977 (The World of the Artist). Page 287.

4. Dante Alighieri. "The Divine Comedy. Hell." Translation by M. Lozinsky, introductory article by A. K. Dzhivelegov, comments by I. M. Grevs. GIHL, Leningrad, 1939. Pp. 201.

5. M. A. Gukovsky. "Leonardo da Vinci. Creative biography." "Art". L.-M., 1958. Pp. 150.

6. Here is what Metropolitan Anthony of Sourozh writes about the role of symbolism in worship:
"In this regard, perhaps it is worth mentioning the symbolism of worship. Our worship is aimed at conveying religious experience, and this experience cannot be conveyed simply in mental categories. It is conveyed not only picturesquely, in parables, it is conveyed symbolically, that is, through the use , a combination of movement, and words, and music, and a dramatic representation of events, which thus reach consciousness better than they can be conveyed only by mental presentation."
Metropolitan Anthony of Sourozh. "About a meeting". Second edition, corrected and expanded. Christian Life Foundation, Klin, 2003. Pp. 234.

7. “The Law of God for family and school with many illustrations. Compiled by Archpriest Seraphim Slobodskaya.” Fourth edition. Holy Trinity Monastery, Jordanville, N.Y. U.S.A., 1987. Reprint edition. Holy Trinity Sergius Lavra, 1994. Pp. 620–622.

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SYMBOLS IN PAINTING.

The “golden” age of still life was the 17th century, when it finally took shape as independent genre painting, especially in the works of Dutch and Flemish artists. At the same time, the term “quiet, frozen life” (Dutch stilleven, German Stilleben, English still-life) appeared to denote still lifes. The first “stilleven” were simple in plot, but even then the objects depicted on them also carried a semantic load: bread, a glass of wine, fish - symbols of Christ, a knife - a symbol of sacrifice, lemon - a symbol of unquenched thirst; nuts in the shell - a soul shackled by sin; the apple is reminiscent of the Fall.

Willem Claes Hedda. Still life with pie, 1627

Gradually, the symbolic language of the painting became richer.

Franciscus Geysbrechts, XVII century.

The symbols found on the canvases were intended to remind us of the frailty of human life and the transience of pleasures and achievements:

The skull is a reminder of the inevitability of death.

Rotten fruits are a symbol of aging.

Ripe fruits symbolize fertility, abundance, figuratively wealth and prosperity.
A number of fruits have their own meaning: the Fall is represented by pears, tomatoes, citrus fruits, grapes, peaches and cherries, and of course, the apple.

Figs, plums, cherries, apples or peaches have erotic connotations.

Sprouts of grain, branches of ivy or laurel (rarely) are a symbol of rebirth and the cycle of life.

Sea shells, sometimes live snails - a mollusk shell is the remains of a once living animal, it signifies death and mortality.

The creeping snail is the personification of the mortal sin of laziness. Large clams denote duality of nature, a symbol of lust, another of the deadly sins.

Soap bubbles - the brevity of life and the suddenness of death; a reference to the expression homo bulla - “a person is a soap bubble.”

A dying, smoking candle (cinder) or oil lamp; cap for extinguishing candles - a burning candle is a symbol of the human soul, its extinguishing symbolizes departure.

Cups, playing cards or dice, chess (rarely) are a sign of an erroneous life goal, a search for pleasure and a sinful life. Equality of opportunity in gambling also meant reprehensible anonymity.

A smoking pipe is a symbol of fleeting and elusive earthly pleasures.

A carnival mask is a sign of the absence of a person inside it. Also intended for festive masquerade, irresponsible pleasure.

Mirrors, glass (mirror) balls - a mirror is a symbol of vanity, in addition, it is also a sign of reflection, shadow, and not a real phenomenon.

Beyeren. Still life with lobster, 1667

Broken dishes, usually glass glasses. An empty glass opposed to a full one symbolizes death. Glass symbolizes fragility, snow-white porcelain symbolizes purity. The mortar and pestle are symbols of male and female sexuality. The bottle is a symbol of the sin of drunkenness.

A knife reminds us of human vulnerability and mortality.

Hourglass and mechanical watches - the transience of time.

Musical instruments, notes - the brevity and ephemeral nature of life, a symbol of the arts.

Books and maps (mappa mundi), the writing pen is a symbol of science.

Globe, both the earth and the starry sky.

A palette with tassels, a laurel wreath (usually on the head of a skull) are symbols of painting and poetry.

Letters symbolize human relationships.

Medical instruments are a reminder of the diseases and frailty of the human body.

Wallets with coins, boxes with jewelry - jewelry and cosmetics are intended to create beauty, feminine attractiveness, at the same time they are associated with vanity, narcissism and the mortal sin of arrogance. They also signal the absence of their owners on the canvas.

Weapons and armor are a symbol of power and might, a designation of what cannot be taken with you to the grave.

Crowns and papal tiaras, scepters and orbs, wreaths of leaves are signs of transient earthly domination, which is opposed to the heavenly world order. Like masks, they symbolize the absence of those who wore them.

Keys - symbolize the power of the housewife managing supplies.

Ruins symbolize the transitory life of those who once inhabited them.

Still lifes often depicted insects, birds and animals. Flies and spiders, for example, were considered symbols of stinginess and evil, while lizards and snakes were symbols of deceit. Crayfish or lobsters represented adversity or wisdom.

For example, an analysis of the symbols of the painting by Jacques Andre Joseph Aved. Around 1670

The book is Sophocles' tragedy "Electra" - in this case the symbol is multi-valued. By placing it in the composition, the artist reminds of the inevitability of retribution for every crime, not on earth, but in heaven, since it is precisely this thought that permeates the tragedy. The antique motif in such still lifes often symbolized the continuity of art. On the title page is the name of the translator, the famous Dutch poet Joost van den Vondel, whose works on ancient and biblical subjects were so topical that he was even persecuted. It is unlikely that the artist placed Vondel by accident - it is possible that, speaking about the vanity of the world, he decided to mention the vanity of power.

Sword and helmet - emblem of transitory military glory

White and red plume - composition center paintings. Feathers always mean vanity and vanity. The painting is dated based on the plumed helmet. Lodewijk van der Helst depicted him wearing such a helmet in his posthumous portrait of Admiral Stirlingwerf in 1670. The admiral's helmet is present in several more still lifes by van Streck.

Portrait of a sanguine. Unlike oil, sanguine is very poorly preserved, as is paper in contrast to canvas. This sheet speaks of the futility of the artist’s efforts; the frayed and torn edges are intended to reinforce this idea.

Golden fringe is the vanity of luxury.

Skull - in ancient culture attribute of Kronos (Saturn), that is, a symbol of time. The Wheel of Fortune was also depicted with a skull. For Christians, it is a sign of worldly vanity, mental contemplation of death, an attribute of a hermit’s life. Saint Francis of Assisi, Saint Jerome, Mary Magdalene, and the Apostle Paul were depicted with him. The skull is also a symbol of the eternal life of Christ, crucified on Calvary, where, according to legend, the skull of Adam was buried.
The ear wrapped around the skull is a symbol of the immortality of the soul (“I am the bread of life” - John 6:48), hope for eternal life.

A stack of old papers is the vanity of knowledge.

A powder horn on a chain is a very typical subject for Dutch still life painting. Here it should apparently be interpreted as something bringing death, unlike the cornucopia. via

Adrian van Utrecht."Vanitas". 1642.

Lilies of the valley, violets, forget-me-nots surrounded by roses, carnations, anemones are symbols of modesty and purity;

A large flower in the center of the composition is the “crown of virtue”;

Fallen petals near the vase are signs of frailty;

A withered flower is a hint of the disappearance of feelings;

Irises are a sign of the Virgin Mary;

White roses are platonic love and a symbol of purity;

Red roses are a symbol of passionate love and a symbol of the Virgin Mary;

Red flowers are a symbol of Christ's atoning sacrifice;

The white lily is not only a beautiful flower, but also a symbol of the purity of the Virgin Mary;

Blue and blue flowers are a reminder of the azure sky;

Thistle is a symbol of evil;

The carnation is a symbol of the shed blood of Christ;

Poppy is an allegory of sleep, oblivion, a symbol of one of the deadly sins - laziness;

Anemone - help in illness;

Tulips are a symbol of quickly disappearing beauty; growing these flowers was considered one of the most vain and futile activities; the tulip also symbolized love, sympathy, mutual understanding;

White tulip - false love,

Red tulip - passionate love (in Europe and America, the tulip is associated with spring, light, life, colors and is considered a cozy, welcoming flower; in Iran, Turkey and other Eastern countries, the tulip is associated with the feeling of love and eroticism).

IN old times, when people were prohibited from expressing their opinions or beliefs in public (or it was considered rude to expose their true feelings), paintings and sculptures were suitable objects that creators used to convey messages to people. Some of the artists shared their political beliefs and moral views with the world in such a review, while others left allegories on religious themes in their canvases. But during the Renaissance there were also artists who left so-called “Easter eggs” for future generations. Today, all these hidden symbols are the subject of study for scientists.

1. Leonardo da Vinci, “The Last Supper”

Leonardo da Vinci's The Last Supper is one of the most debated works of art among conspiracy theorists, who regularly find hidden codes in the work. It turns out that “The Last Supper” is full of secret codes and meanings. Moreover, we will not be talking about cryptograms, which, according to Dan Brown, author of The Da Vinci Code, keep secrets about later life Jesus, and not even about the claims that the painting contains a mathematical and astrological code that shows the day when the end of the world will begin (March 21, 4006).

Along with all the codes, Leonardo seems to have passed on music to his descendants in his work. At first glance, there is nothing mysterious about the buns scattered on the table. But nevertheless, several years ago, Italian computer technician Giovanni Maria Pala found in the film... a score. The position of the hands and bread can be interpreted as musical notes. And if you read these notes from right to left (Da Vinci often wrote this way), you get a 40-second composition that sounds like a requiem.

2. Michelangelo, “God separating light from darkness”

One of the most famous works art of another famous artist Renaissance, Michelangelo, is his huge painting on the ceiling of the Sistine Chapel. This truly gigantic masterpiece is divided into nine segments, each telling a different story from the Book of Genesis.

Michelangelo was a genius and " a true man Renaissance": artist, sculptor, architect, and, among other things, a specialist in the field of human anatomy. This became known because of his sculptures and also because the artist managed to hide several anatomical elements in his paintings. Even as a young man, Michelangelo dissected corpses dug up in the cemetery, and during this rather disgusting period of his life he learned a lot about the human body.

For example, if you look closely at the fragment entitled “God Separating Light from Darkness,” you will see that God’s neck and chin resemble an image of a human brain.

So why did Michelangelo hide anatomical sketches in his paintings? Most theorists believe that this was Michelangelo's protest against the Church's refusal to accept scientific facts.

3. Michelangelo, "The Creation of Adam"

It seems that Michelangelo was fascinated by the human brain. In another popular part of his masterpiece on the ceiling of the Sistine Chapel, he inserted another image of a brain. Perhaps everyone has seen this painting, known as The Creation of Adam, as it is one of the most reproduced religious paintings of all time.

God, supported by twelve figures, reaches out and barely touches Adam's hand, imparting to him the spark of life. Initially, it was believed that the entire composition was just an allegory of the relationship between man and God, but some experts analyzed the painting and noticed that God and twelve figures are depicted against the background of a twisted cloak, which is very reminiscent of the structure of the human brain.

This cannot be a mere coincidence, as Michelangelo even managed to depict some of the more complex parts of the brain, such as the cerebellum, optic nerve and pituitary gland.

"Cafe Terrace at Night" is considered one of Van Gogh's most valuable paintings. The scene depicted here is quite simple - it is night and a bunch of people with drinks in a half-empty cafe. But it turns out that there is more hidden in the picture than an ordinary street scene. Many researchers believe that Van Gogh actually created his own version of the Last Supper.

Those who support this theory explain this possibility by Van Gogh's great religiosity. Everyone also knows that Jesus held his Last Supper with his twelve disciples.

Exactly twelve people are sitting in a cafe in Van Gogh's painting, all of them centered around a long-haired man. Moreover, there are several hidden crosses in the painting, one of which is located above “Jesus”.

Van Gogh never said that his painting had any religious symbolism, although in one letter to his brother Theo he wrote the following: “... this does not prevent me from terribly needing religion. So I go out at night to paint stars, and I've always dreamed of doing a painting with a bunch of my buddies."

5. Leonardo da Vinci, La Gioconda

This mysterious masterpiece has puzzled researchers and art historians for centuries. Now Italian scientists have added another layer of intrigue, claiming that da Vinci left a series of very small letters and numbers in the painting. When viewed under a microscope, the letters LV can be seen in the Mona Lisa's right eye.

And in the left eye there are also some symbols, but not as noticeable as the others. They resemble the letters CE, or the letter B.

On the arch of the bridge in the background of the painting there is an inscription either “72” or “L2” or the letter L, and the number 2. Also in the painting there is the number 149 and the fourth erased number after them.

Researchers suggest that this is likely the year the painting was created (if da Vinci was in Milan during the 1490s). But only da Vinci himself knew what all these numbers and letters actually meant.

6. Sandro Botticelli, “Spring”

This Botticelli masterpiece has a lot to offer for those who seek hidden symbols and meaning in works of art. The origin of the painting is unclear. It was written either by order of Lorenzo de' Medici, or a little later - for his cousin Lorenzo di Pierfrancesco de' Medici. In any case, and perhaps more importantly, the painting was created at the court of one of the most progressive families of the time.

"Spring" is replete with characters from Roman mythology, which was done (according to researchers) to depict mythological allegories of the burgeoning fertility of the world. Beyond this obvious explanation, there are many interpretations of the scene depicted in the painting. Some people think it provides clues to a plot against the Medici family, while others think the painting is associated with the pagan Renaissance and Neoplatonic philosophy.

The painting is also notable for the fact that it depicts a real botanical paradise. In the imaginary meadow depicted in Primavera (Spring), Botticelli painted an incredible amount of plants with an amazing degree of detail.

According to botanists who did research on this painting, there are at least 500 different plants on it, more than 200 different types. One theory suggests that these are all types of spring plants that grew near Florence in the 15th century.

7. Giorgione, "The Tempest"

The painting “The Storm” by the Venetian artist Giorgione depicts two figures, a man and a woman, under the walls of an unknown city, which is approaching a storm.

The picture looks very simple and clear, but over the years many scientists have analyzed it and tried to find the best interpretation. Young man standing on the path was described as a soldier, a shepherd, a gypsy or a young aristocrat. The woman sitting opposite him was believed to be a gypsy, a prostitute, Eve or Mary, the mother of Jesus, on the road to Egypt. On the roof of one of the houses you can see a stork, which, according to some, is a symbol of the love of parents for their children.

Everything around seems to be frozen in anticipation of the coming storm. According to Italian scholar Salvatore Settis, the city in the background is a depiction of Paradise, and the two characters are Adam and Eve with their son Cain. In ancient Greek and Jewish mythology, lightning in the sky symbolizes God.

Settis believes that the painting shows the moment when God kicked Adam and Eve out of Paradise. This is just one explanation for the "Storm", which many scientists consider one of the most mysterious works art.

8. Pieter Bruegel the Elder, “Flemish Proverbs”

It would seem that there is nothing mysterious in this painting by Pieter Bruegel the Elder, but it is no less interesting than the others mentioned above. "Flemish Proverbs" can be described as a literal interpretation of proverbs in the Dutch language. Bruegel managed to paint a visual representation of the huge number of proverbs that were popular at the time.

In total, scientists were able to identify about 112 proverbs, but it is very likely that there are many more, they have simply been forgotten today (which does not allow them to be identified), or they are very well hidden.

Fragment of Hieronymus Bosch’s triptych “The Garden of Earthly Delights”, right wing “Hell”, on which you can see the score on the sinner’s buttocks

The work of Hieronymus Bosch is known for its fantastical imagery, detailed landscapes, and illustrations of religious concepts. Bosch was a true master in depicting the grotesque. Each Basch painting looks like a test of people's ability to notice small and hidden details.

For example, just three years ago, a blogger named Amelia posted on her Tumblr blog that she found some hidden musical notes in one of the paintings. We are talking about this notorious fifth point of the sinner. Soon the “Sinner's Hymn”, written from these notes, appeared on the Internet.

"Bacchus" is one of Caravaggio's most acclaimed paintings. Today she can be seen in Uffizi gallery in Florence. The painting, painted in 1595, depicts the Roman god Bacchus (Dionysus) with a glass of wine, as if inviting the viewer to join him.

It all seems obvious enough, but eight years ago a team of experts using modern reflectogram technology managed to see something peculiar inside a wine decanter (in the lower left corner): Caravaggio painted a tiny self-portrait in this place.

The miniature portrait was discovered in 1922 when a restorer was cleaning the canvas. Then scientists did not understand what they had discovered under centuries-old layers of mud. But thanks to modern technology, everyone can now see Caravaggio's funny image.

Symbolism is of great importance in the history of art and develops over time along with culture. The worldview and worldview of a medieval person differ from modern ones and have certain features, without knowledge of which it is impossible to fully perceive the works of painting of that time. The semantic structure of the symbol is multi-layered and designed for the active internal work of the perceiver, i.e. viewer. The very structure of the symbol is aimed at immersing each particular phenomenon in the element of the “first principles” of existence and giving through this phenomenon a holistic image. If a thing allows itself to be looked at, then the symbol itself seems to “look” at us. The meaning of a symbol cannot be deciphered by a simple effort of reason; one must “get used to” it, and in order to do this, the symbol must be known. There is a relationship between symbol and myth; the symbol is a myth - and inherited its social and communicative functions. By studying a symbol, we not only disassemble and consider it as an object, but at the same time we allow its creator to appeal to us: this is how the artist not only evokes feelings in the viewer, but also makes him involved in what is happening in the picture.

In my article, using the example of paintings by great artists, I will talk about the symbols of that period in Europe, when they became one of the general cultural principles in painting. But since Christian symbolism found various expressions in medieval painting, I will begin the story with a brief overview of Christian symbols and canons.

Symbols are recognizable elements that convey specific meaning, ideas, concepts - serve as a reliable "language" in all visual arts and especially in painting. There is no doubt that some symbols arose among peoples independently; many similar symbols can be explained by common psychological and cultural reasons, for example, the symbol of the sun - in the form of a wheel, lightning - in the form of a hammer; but in many cases, cultural interaction between peoples and the transmission of symbolism through cultural and trade ties, coin circulation, and religious ideas are revealed. Many symbols have acquired an incredibly wide meaning, for example, the symbols of the cross, the eagle, the fish, and such symbols as the lily and the rose have become a permanent fixture in the images of St. Virgin Mary; St. George strikes a sea dragon with his spear; a halo surrounds the heads of the saints.

The symbol appeals not only to the mind, but also to a person’s feelings, his subconscious, gives rise to complex associations and often depends on the era, religion, and culture of the people. If the symbol is polysemantic, then we must take that of its meanings that corresponds to the era, time, general system, the spirit of the picture - does not contradict it and does not destroy it. A symbol can be designated by a number, property, or shape. For example, the number 7 is a symbol of perfection and completeness (seven colors of the rainbow, seven notes, seven days of the week, seven virtues, seven deadly sins); blue color (the color of the sky) is a symbol of everything spiritual; the shape of a circle resembling the sun and moon is a symbol of divine perfection. Another group of symbols are objects, phenomena, or actions, as well as artistic images that embody an idea. For example, an olive branch is a symbol of peace, a narcissus flower is a symbol of death, a baby is a symbol of the human soul. Light is a symbol of spiritual insight, divine grace; rainbow (meeting of Heaven and Earth) is a symbol of the reconciliation of God with people, the forgiveness of human sins. Weaving symbolizes the creation of the universe, the world, the determination of the destinies of all things; fishing - proselytizing (Christ taught his disciples to be “fishers of men”). The artistic image of a centaur is a symbol of base passions, strife (if depicted with a quiver, arrows and a bow), in religious compositions - a symbol of heresy. A symbol is associated with the external characteristics of an object and always reflects its deep essence. For example, an owl is a night bird, so one of its symbolic meanings is sleep, death.
The form, theme, and content of art were closely related to religion and were under the strict control of the church, so there were rules and techniques in painting - canons that every artist had to follow. Types of images, compositional schemes, symbolism were approved and illuminated by the church, but the canon did not at all fetter the thoughts of the medieval painter, but disciplined him, forcing him to pay more careful attention to details. The language of religious symbolism was supposed to convey complex and deep concepts of spiritual reality. At that time, many did not know how to read, but the language of symbols was instilled in any believer from childhood.
The symbolism of color, gestures, and depicted objects is the language of the icon. The proportions of the face were deliberately distorted. It was believed that the eyes are the mirror of the soul, which is why the eyes on the icons are so large and soulful. Starting from Rublev's time at the beginning of the 15th century. the eyes no longer wrote so exaggeratedly large, nevertheless, they are always given great attention. Theophanes the Greek depicted some saints with their eyes closed or with empty eye sockets - in this way the artist tried to convey the idea that their gaze was directed not at the outside world, but inward, at the contemplation of divine truth and inner prayer. The figures of the depicted biblical characters were painted less densely, in few layers, deliberately elongated, which created the visual effect of their lightness, overcoming the physicality and volume of their bodies. They seem to float in space above the ground, which is an expression of their spirituality and transformed state. The actual image of a person occupies the main space of the icon. Everything else - chambers, mountains, trees - play a secondary role, their iconic nature is brought to the maximum conventionality. However, they also carry a certain semantic load: the mountain symbolizes man’s path to God, the oak tree is a symbol of eternal life, the cup and vine are symbols of the atoning sacrifice of Christ, the dove is a symbol of the Holy Spirit, etc.
All painters resorted to the symbolism of paint colors, each color brought its own meaning and mood:
- Gold is a color that symbolizes the radiance of Divine glory in which the saints abide. The golden background of the icon, the halos of saints, the golden radiance around the figure of Christ, the golden clothes of the Savior and the Mother of God - all this serves as an expression of holiness and eternal values ​​belonging to the world;
- Yellow or ocher - the color of the highest power of angels, closest in spectrum to gold, is often simply its replacement;
- White is a color symbolizing purity and innocence, involvement in the divine world. The clothes of Christ are painted white, for example in the composition “Transfiguration”, as well as the clothes of the righteous on icons depicting the Last Judgment;
- Black is a color that in some cases symbolizes hell, the maximum distance from God, in others - a sign of sadness and humility;
- Blue - the color of the Virgin Mary, also meant purity and righteousness;
- Blue is the color of greatness, symbolizing the divine, heavenly, the incomprehensibility of mystery and the depth of revelation;
- Red is the royal color, a symbol of power and might (the cloak of Michael the Archangel - the leader of the heavenly army and St. George - the conqueror of the serpent); in other cases it could be a symbol of atoning blood, martyrdom.
- Green - symbolized eternal life, eternal flowering, and the color of the Holy Spirit.
Gesticulation also had a special symbolic meaning, since a gesture in icons conveys a certain spiritual impulse and carries certain spiritual information:
- Hand pressed to the chest - heartfelt empathy;
- A hand raised up is a call to repentance;
- A hand extended forward with an open palm is a sign of obedience and submission;
- Two hands raised up - a prayer for peace;
- Hands raised forward - a prayer for help, a gesture of request;
- Hands pressed to the cheeks - a sign of sadness, grief.
This is far from exhaustive material on the symbolism of gestures and colors (they may differ among different cultures). It is no coincidence that icons were called “theology in colors.”
The objects in the hands of the depicted saint were also of great importance as signs of his service. Thus, the Apostle Paul was usually depicted with a book in his hands - this is the Gospel, less often with a sword - symbolizing the Word of God. Peter usually has keys in his hands - these are the keys to the kingdom of God. Martyrs are depicted holding a cross in their hands or a palm branch - symbols of belonging to the Kingdom of Heaven; prophets usually hold scrolls of their prophecies in their hands.
Since the spread of Christianity in the West and in the East took place under different historical conditions, then church art also developed in different ways. In Western Europe, the icon had to show and tell the gospel story as truthfully as possible, hence the increasing realism and the gradual transformation of the icon into a painting with a religious plot, and as a result the emergence of a new art “art nova”. The term - new art, borrowed from the history of music - very accurately defines the art of the Netherlands in the first half of the 15th century. Intuitive and religious-mystical knowledge of the world formed the basis of the new Northern European culture. One of the founders of early art Northern Renaissance is the outstanding Dutch painter Jan van Eyck (b. c. 1390 - d. 1441) - he created the “Portrait of the Arnolfini Couple” - a unique phenomenon in all European painting of that time. The artist was the first to depict people in their everyday surroundings, without any connection with a religious plot or images from the Holy Scriptures.

Jan van Eyck
Portrait of the Arnolfini couple
1434g, wood, oil, 82x60 cm.
National Gallery, London, England

The canvas depicts the merchant Giovanni Arnolfini from the Italian city of Luca and his young wife. Both are dressed in elegant holiday costumes, in keeping with the sophisticated and whimsical fashions of the time. Their poses are solemnly motionless, their faces are full of the deepest seriousness. In the back of the cozy room hangs a round mirror - a symbol of God's all-seeing eye, reflecting the figures of two more people present in the room but not visible to the viewer, obviously witnesses to the wedding. In one of them, the artist depicted himself, as the inscription above the mirror says: “Jan van Eyck was here.” The artist depicted the newlyweds in full size. The painter lovingly depicts the things surrounding the newlyweds. These objects tell a lot about the lifestyle of their owners, emphasizing their burgher virtues - frugality, modesty, love of order. The ritual is performed in the holy of holies of the burgher's house - the bedroom, where all things have a hidden meaning, hinting at the sacredness of the marital vow and the family hearth. Almost all the objects depicted on the canvas have symbolic meanings: a dog denotes fidelity, a pair of shoes on the floor speaks of the unity of a married couple, a brush is a sign of purity, a rosary is a symbol of piety, a convex mirror is the eye of the world, oranges are fruits Garden of Eden and hint at heavenly bliss, and the apple hints at the Fall. One candle lit in a chandelier during the day also becomes clear - the symbolic and mystical presence of the Holy Spirit sanctifying the sacrament, because from time immemorial, torches and lit lanterns were carried during wedding processions.
Particular interest in symbolism was evident during the transition from the Middle Ages to the Renaissance. One of the most major representatives of the early Italian Renaissance is Andrea Mantegna (born ca. 1431 - 1506).
Consider the painting “Praying for the Cup.” The plot of this picture is quite traditional, but it is solved in a completely unusual way, especially in comparison with the artists of the Middle Ages. Christ is placed in the background, and with his back to the audience. In the foreground are the sleeping disciples Peter, John and James. They still have many human weaknesses and are depicted without halos - symbols of holiness. Thus, Mantegna showed that the most important thing for him was the spiritual improvement of his students.

Andrea Mantegna
Prayer for the Cup
London, National Gallery

There are many symbols in the picture. Thus, the rock on which Christ prays means firmness in faith, sleep is a symbol of spiritual death. In the background are angels, one of them holds a cross, showing that it is on the cross that Christ will die. A dry tree with a vulture foreshadows death, and a branch with a green shoot indicates an imminent resurrection; humble rabbits sitting on the road along which a detachment of Roman soldiers will pass to take Christ into custody speak of the meekness of man in the face of inevitable death. Three stumps remaining from trees that have just been cut down and already carried away are reminiscent of the impending crucifixion. In the foreground, grass sprouts emerge from a barren rock, behind the students there is a young tree - these are symbols of new life. The figures are drawn in the artist's usual manner and appear to be carved from stone, every fold of their clothing is sharply defined. The background is an image of a garden with dark foliage. In its tone, this greenery contrasts with the soft green light sky, which evokes a feeling of deep sadness and a certain doom.
Another approach to the symbolism of the period from the Middle Ages to the Renaissance can be seen in the paintings of Hieronymus (Hieronymus) Bosch (b. c. 1450/1460 - 1516). His real name was Jeroen Antoniszaen van Aken, but the artist signed his works with a pseudonym.
Hieronymus Bosch is an outstanding Dutch painter who intricately combined in his paintings the features of medieval fantasy, folklore, philosophical parables and satire. One of the founders of landscape and genre painting in Europe. His paintings are also religious and often depict saints and Christian martyrs, but these are no longer entirely biblical subjects. Bosch's artistic language never fit entirely into medieval symbolic interpretations. The artist often used certain symbols in a meaning opposite to the generally accepted one, and also invented new symbols. Maybe that’s why he was called a “gloomy science fiction writer”, “honorary professor of nightmares”, but modern surrealists saw in Bosch their spiritual father and forerunner.
Hieronymus Bosch created the triptych painting “The Garden of Earthly Delights” in 1503, in which his unique vision of the world was fully manifested. Instead of the supposed figure of Christ, the earthly life of people is depicted here in all its sinful “splendor.” Heaven and hell are depicted on the sides. Thus, the viewer's gaze is not directed from the left edge to the right, which would create the impression infinite series torment (Creation of the world - the sacrifice of Christ - the Last Judgment), and from the center to the edges, and its morality can be expressed in the words: “What you deserve is what you get.”

Hieronymus Bosch
Garden of Earthly Delights 1503
Triptych, wood, oil, center 220x195 cm.
side doors 220x97 cm.

The composition of the left wing continues the theme of the creation of the world, the birth of man and depicts the scene of the “Creation of Eve”. Various animals graze among the green hills, against the backdrop of the fantastic landscape of Paradise, around a pond with a bizarre structure. This is the Fountain of Life, from which various creatures emerge onto land. In the foreground, near the Tree of Knowledge, the awakened Adam looks in amazement at Eve, whom God shows him. As usual with Bosch, no idyll exists without an omen of evil, and we see a pit with dark water, a cat with a mouse in its mouth (the cat is cruelty, the devil). A stunted palm tree growing on a mysterious orange rock is diagonally opposite to a flowering palm tree. Several incidents cast a dark shadow on the peaceful life of animals: a lion devours a deer, a wild boar pursues a mysterious beast. And above it all rises the Source of Life - a hybrid of plant and marble rock, a soaring Gothic structure set on the dark blue stones of a small island. At the very top of it is a barely noticeable crescent, but already from inside it, like a worm, an owl peeks out - the messenger of misfortune.
The central part of the triptych - the "Garden of Earthly Joys" itself - is a panorama of the fantastic "garden of love", inhabited by many naked figures of men and women, unprecedented animals, birds and plants. Lovers shamelessly indulge in lovemaking in ponds, in incredible crystal structures, hiding under the skin of huge fruits or in shell flaps. Mixed with human figures were animals of unnatural proportions, birds, fish, butterflies, algae, huge flowers and fruits. This magnificent painting resembles a bright carpet woven from shining and delicate colors. But this beautiful vision is deceptive, for behind it are hidden sins and vices, presented by the artist in the form of numerous symbols borrowed from popular beliefs, mystical literature and alchemy. There is a pond of luxury and a fountain, flowers of the absurd and castles of vanity. In the background is a motley cavalcade of numerous naked horsemen riding deer, griffins, panthers and boars - nothing more than a cycle of passions passing through a labyrinth of pleasures. The third plane (the farthest) - crowned with a blue sky, where people fly on winged fish and with the help of their own wings - symbolize sinful sexuality, devoid of the light of divine love; the apple boat in which lovers retire is shaped like a woman’s breast; birds become the personification of lust and debauchery, fish - a symbol of restless lust, the shell is the feminine principle. At the bottom of the picture, a young man hugged a huge strawberry. The meaning of this image will become clear to us if we remember that in Western European art strawberries served as a symbol of purity and virginity. The steel-colored glass sphere is symbols from the Dutch proverb: “Happiness and glass - they are short-lived.”
The right wing shows Hell and represents the third stage of the Fall, when the earth itself turned into hell. In the center there is a huge figure of a monster - this is the “guide” to Hell, the main “storyteller”. His legs are hollow tree trunks, and they rest on two ships. Satan's body is an open eggshell; on the brim of his hat, demons and witches either walk or dance with sinful souls... Or lead people guilty of unnatural sin around a huge bagpipe (a symbol of masculinity). Around the ruler of Hell, the punishment of sins takes place: one sinner was crucified, pierced by the strings of a harp; next to him, a red-bodied demon conducts a hellish orchestra singing from notes written on the buttocks of another sinner. Musical instruments (as a symbol of voluptuousness and debauchery) are turned into instruments of torture. In a high chair sits a monster with a bird's head, punishing gluttons and gluttons. He stuck his feet into beer jugs, and put a bowler hat on his bird's head. And he punishes sinners by devouring them, and then they plunge into a pit. The harmless rabbit (in the picture it is larger than a human) in Christianity was a symbol of the immortality of the soul and abundance. In Bosch, he plays the horn and lowers the sinner head down into the fire of hell. Giant ears carrying a large knife grind the bodies of the damned and serve as an omen of misfortune. Below, on an icy lake, a man balances on a large skate, which carries him to the ice hole. The huge key attached to the shaft by the monk reveals the latter’s desire for marriage, which is prohibited for members of the clergy. Helpless male figure fights the amorous advances of a pig, dressed as a nun.

fragment

“In this horror there is no salvation for those mired in sins,” says Bosch pessimistically. If Mantegna used entirely biblical symbols, then with Bosch they become “materialistic”. But they materialize in a completely individual manner. There is so much that is ambiguous and mysterious in his paintings that Bosch is still sometimes spoken of as a man who attended the Last Judgment. But “acting in his art as a thinker, he looked at the world through the eyes of an artist.” His characters look like nightmarish images of the Apocalypse and at the same time like a cheerful carnival of devils. However, with all the many interpretations of the meaning of “The Garden of Earthly Delights”, not one of them can completely cover all the images of the picture.
At the very end of the 16th century, a unique genre emerged in the visual arts, in which artists showed an extraordinary interest in accurately reproducing musical compositions and instruments in paintings and engravings. This genre involves the viewer in thinking about the symbolic meaning that the old European masters of painting assigned (by the way, following musical theorists) to musical instruments, and this gave certain “overtones” to many paintings European artists Middle Ages, Renaissance and later times.

Vigée - Lebrun Marie - Louise - Elizabeth
(1755-1842)
Portrait of Madame de Staël as Corinne 1808
Canvas, oil. 140x118 cm.
Kunsthistorisches Museum, Geneva

Let me give you a few examples:
- Lute is an attribute of Music (as one of the seven liberal arts), Hearing (one of the five senses), Polyhymnia (one of the nine muses); lute - with a broken string, depicted in a still life symbolizes discord;
- Viola is an attribute of several muses (primarily Terpsichore), as well as Music; as a generally accepted replacement for the lyre (the viola was otherwise called the lyre), an attribute of Apollo, Orpheus and Arion;
- The flute is a shepherd’s (pastoral) instrument, an attribute of the satyr Marsyas, the shepherd Argus, the evangelical shepherds (in the Adoration of the Shepherds); a widespread phallic symbol among the ancients, this meaning is retained by the flute when played by a man in paintings of lovers; attribute of Vice;

Trumpet - in Christian art, announces the Last Judgment; a straight trumpet is a symbol of Glory (a long trumpet is good glory, a short one is bad glory); an attribute of the muses - Calliope, Euterpe and, starting from the 17th century, Clio.
Turning to other musical instruments, we will discover the connection of many of them with certain characters from mythology or Holy Scripture. Through this connection they acquired their symbolic meaning. For example, the harp in the minds of Europeans of the Middle Ages and the Renaissance was strongly associated with the biblical King David, the legendary author of psalms. David was often depicted playing this instrument in scenes from his youth as a shepherd. This interpretation biblical story brought King David closer to Orpheus, who tamed animals with his playing of the lyre. But more often David can be seen playing music on the harp in front of the melancholy Saul.
In the 17th century, the philosophical idea of ​​the frailty of all things became popular - Vanitas (Vanitas vanitatum et omnia vanitas Vanity of vanities and everything is vanity). She received her most vivid expression in still life. Music (notes and musical instruments) is the most striking symbol of the transience and ephemerality of existence: the sound has faded away - and now it is no longer there, it has died. The clarity of the meaning of this musical symbol can only be matched by the skull, extinguished candle (with still flowing smoke) and flowers (with falling leaves) depicted in them. This last symbol was often chosen by harpsichord makers of the 17th century as a decoration on their instruments. Some paintings are called just that - Allegory of Mortality (or Vanitas), for example, the still life by Peter van der Willige “Allegory of Mortality and Glory” (fragment).

Willige Peter
Allegory of frailty and glory (fragment)
1660

Apparently, it is in the vein of Vanitas that purely musical still lifes of such artists as Bettera and Baskenis should be “read”. The latter became especially famous for its magnificent depictions of lutens, many of which are believed to have been made by masters of the famous Amati dynasty.
Emblematic collections published throughout the 17th century were a good aid in deciphering paintings. Those who were familiar with such literature did not experience great problems in interpreting the paintings, since they knew that the image of a clock was associated with the concept of time, musical trumpet or a forge - with glory, ancient sculpture - with art. Precious silver vessels represented wealth. The white lily spoke of purity. A white rose testified to platonic love, and a red rose testified to carnal love. Tulips were a symbol of quickly disappearing beauty; growing these flowers was considered one of the most vain and futile activities. The withered flower hinted at the disappearance of feelings, and the thistle was associated with the concept of evil. Very often on the canvases there is a bunch of grapes, which at the same time recalled the Savior’s atoning sacrifice for the sins of mankind and testified to the onset of autumn; the fluttering butterfly symbolized the immortality of the soul. Overseas exotic shells, a collector's item, hinted at an unwise waste of money.
The landscape genre in fine art was also imbued with philosophical ideas, unique metaphors and symbols. The master of landscape with symbols, including Christian ones, is the artist Caspar David Friedrich (1774 - 1840), one of the leaders of romanticism in German fine art. On his canvases, ancient pagan and medieval history appears in the form of melancholic motifs (Hunnic tombs, ruins of temples and monasteries), emphasizing tragic breaks rather than the connection of times. The power of colors, quite sonorous, is tempered by fogs and sunset or dawn haze.
In his painting “Cross in the Mountains,” the artist depicted a stern rock, on top of which stands a crucifix rising high up. It is covered with ivy and surrounded by evergreen spruce trees. The sun has gone down, but its rays go up and illuminate the crucifix.

Caspar David Friedrich
Cross in the mountains 1808
Art gallery, Dresden

The symbolism of the images of the picture is quite simple, but essentially meaningful, and the compositional organization Christian idea becomes the artist's artistic message. The setting sun and the illuminated crucifix with Jesus signify the replacement of the Old Testament with the New and the connection of the teachings of Christ with God the Father. The cross on the rock is a symbol of strong faith, and green spruce trees at all times represent hope in Christ. The symbolism of the images of the frame, which was specially ordered, complements the meaning of the symbols of the painting. The ears of wheat and vines indicate the bread and wine of the sacrament. The radiant divine eye against the background of a triangle is a symbol of the Holy Trinity. Walter, a modern German researcher of the work of K. D. Friedrich, sees in the arched image the idea of ​​victory over death, peace and justice. Friedrich himself, in a commentary to his work, deciphered his compositional idea as follows: “With the teaching about Jesus, the old world died - the time when God the Father lived on earth. There is no longer a time where the spirit of God is understood.” Friedrich showed in his painting how the concept of God is realized in symbols, hieroglyphs of nature. The landscape is designed to be read internally. The artist, using the language of Christian symbols, makes possible the subjective perception of Christian revelations. Freed from all genre restrictions, he tried to designate through landscape that difficult to define in the concept of God, which was associated with the idea of ​​light, the universe and the infinite. And behind these ideas a new idea of ​​the divine principle, the world and man is built, which came with romanticism and became known as Christian pantheism.
In order to get even closer to philosophical ideas Caspar David Friedrich, you should pay attention to the images of light in this picture: an eye in a triangle and rays, the sun behind a mountain and a double seven-pointed star. Centrally the sun appears here. Having collected all its semantic correlations, we discover that the sun - the spatial-geometric center of the picture (not by chance, because this image expresses the idea of ​​​​God the Father) - is associated with the idea of ​​space. Friedrich’s personality, man, is located outside the space depicted in the picture. But his presence, nevertheless, is thought through the images of the sacrament, for the ears of wheat and the vine (the bread and wine of the sacrament) are intended for man so that he can join the source of life. If you do not turn to esotericism, then some symbols, in the language of Novalis, signatures, hieroglyphs, will remain undisclosed and ununderstood. First of all, a seven-pointed star. Of course, in the minds of Christians, seven is associated with the symbol of creation (7 days of the Creator’s creation). But the seven is double, and even with a circle inside. The circle is a symbol of wholeness, but the number 14 does not appear in esotericism. It remains to be assumed that the second 7 means duality of meaning. And then we remember that the seven-pointed star is the star of the magicians, each ray of which is associated with a specific planet and hour. Among the Pythagoreans, this number (7) was considered worthy of worship. It was considered the number of religion - according to their ideas, man is controlled by seven heavenly spirits. It is often called the number of life (this has something to do with the fact that a child born 7 months after conception lives, but those born after 8 months often die). This number explains the mystical nature of man: 7 = 3 + 4, where 3 is spirit, mind, soul, and 4 is the world, thus, the mystical nature of man consists of a triple spiritual body and a four-component material form. And of course, it is no coincidence that five angels are depicted on the palm vault - this figure among the Greeks was a sacred symbol of light, health and vitality; the Pythagoreans added the meaning of permeability here. It also symbolizes the fifth element - ether. The number five is called balance because it divides the perfect number 10 into two equal parts and is a symbol of harmony in the physical world. The Pentad is a symbol of Nature, and the 5 angels that make up this figure perhaps indicate its spirituality. Frederick probably sought to convey a certain esoteric message to the world through Christian and non-Christian signatures.
The artist often depicted mountains that he first saw when he was very young. Since then, they have become a frequent motif in his landscapes, a symbol of the heights of knowledge and spiritual life, for example: “Two Contemplating the Moon.”

Caspar David Friedrich
Two Contemplating the Moon 1819

Two people stand on a rocky path - the path of life - and peer into the distance. Next to them is a large boulder - the stone of faith and a spruce tree - a symbol of eternal life. The moon, a symbol of the resurrection and Christ, is placed in the center of the composition and separates the “living” half of the picture with a boulder and a green spruce from the “dead” half with a dried tree. A few pine trees on the rocky peaks remind us of eternal life. But on the way to it, you need to overcome a gorge swirling with fog - an abyss of sin into which a person risks falling every minute of his earthly journey.
In legacy from medieval culture still life XVII centuries, we inherited the tradition of depicting not just a thing, but a thing-symbol. Let us turn to the still life “Memento mori” by the 17th century Dutch artist Jan de Heem (1606-1683/1984).

Jan Davids de Heem
Memento mori
Dresden Gallery

At the first quick glance at this picture, attention is immediately drawn to a beautiful bouquet of garden flowers. He occupies almost the entire space of the picture and is its main “character”. But taking a closer look, we notice some oddities in the choice and depiction of objects located near the bouquet: it is very unusual that next to it the artist placed a skull, a shell, crumpled and torn paper with a clear inscription “Memento mori” (“Remember death”). In addition to this direct call, the skull also reminds us of death, since it is a symbol of the fragility and frailty of our life. All the numerous details of this picture speak about death and its inevitability. Note that Jan de Hem depicted a fading bouquet: the tulips’ petals have faded and wilted, the poppy has completely withered, and other flowers are also touched by withering. A wilting bouquet in itself signifies the fragility of our life. In addition, the artist carefully depicted many worms and insects eating petals, stems and leaves. And worms are symbols of decay and destruction; flies symbolize damage; butterflies - transience, the shortness of our stay on earth. Almost all of the considered elements of the composition of this still life indicate that the believing artist persistently instills in us the idea that man, with all his earthly aspirations and concerns, which are symbolically indicated by a set of different colors, is only a temporary guest on earth. But the shell, a symbol of pilgrimage, an attribute of Saint Roch and James the Elder, directs the viewer’s thought to the lofty, incorruptible and eternal. But only the spiritual is eternal; our soul is immortal. Now the ideological content of the picture becomes clear: do not forget, man, that you are mortal, and save your soul during your life in order to avoid the torment of hell in the next world.
In Holland, paintings depicting objects were called “stilleven”, which can be translated both as “still nature, model”, and as “ quiet life", which very accurately conveys the specifics of Dutch still life. The focus of the artists' attention descended from heaven to earth; now they were interested not in pious reflections, but in a close study of details material world. The first stilleven are simple - bread, a glass of wine, fruit, fish, bacon. But all the objects in them are symbolic: the fish is a symbol of Jesus Christ; meat - mortal flesh; the knife is a symbol of sacrifice; lemon is a symbol of unquenched thirst; a few nuts in the shell - a soul bound by sin; wine is a symbol of Blood; bread is a symbol of the Flesh of Christ. Broken dishes and dead game, often included in the composition of the paintings, remind us of the frailty of earthly existence.
Symbols also play an important role in paintings. portrait genre. Let's look at the magnificent portrait of E. S. Avdulina by the artist Orest Adamovich. Kiprensky (1782-1836). The portrait shows a young woman who is deeply thinking about something sad, who seems detached from everything around her. Fragile and dreamy, she seems out of this world. And all the details of the portrait emphasize this state of detachment from the outside world. Avdulina is wearing a black dress, which almost merges with the overall dark background of the picture, and the black color means oblivion of all the worries, anxieties and concerns of the surrounding everyday reality, renunciation of it. That is why the color of monastic robes is black. Avdulina is wearing a pearl necklace. Pearls in Christian symbolism simultaneously mean wealth of spirit, grief and sadness. And if Avdulina herself is the embodiment of fragile young beauty and spirituality, then the dark thunderclouds and the road gently rising gently up the hill, barely visible in the twilight, symbolize the difficult path of life and evoke the idea of ​​the fragility and defenselessness of spiritualized beauty in our harsh world.

Kiprensky O.A.
Portrait of Avdulina E.S.

A lonely sprig of hyacinth standing in a glass of water reminds us of the sad legend with the absurd death of the young favorite of the god Apollo, who after his death was transformed into this beautiful flower. The white color of hyacinth, like white color in general, is a symbol of moral purity, but also of death, and the fact that the flower withers and crumbles means the transience of youth and beauty. The folded and lowered fan in Avdulina’s hand also symbolizes disappearance. This fan symbolism is associated with the lunar phases (non-existence, emergence, increase, full existence, decrease, disappearance). In a word, when you carefully and thoughtfully examine the portrait of E. S. Avdulina, you come to the conclusion that during the work the artist was possessed by sad thoughts.