The Garden of Earthly Delights by Hieronymus Bosch: The Iconography of the Central Panel

Author(s):  
Walter S. Gibson
2014 ◽  
Vol 17 (5) ◽  
pp. 64-65
Author(s):  
Eberhard J. Wormer
Keyword(s):  

2000 ◽  
Vol 31 (4) ◽  
pp. 1009 ◽  
Author(s):  
Lynn F. Jacobs
Keyword(s):  

1937 ◽  
Vol 19 (4) ◽  
pp. 604
Author(s):  
F. E. Hyslop ◽  
Charles de Tolnay
Keyword(s):  

2010 ◽  
Vol 41 (11) ◽  
pp. 1500-1509 ◽  
Author(s):  
A. Deneckere ◽  
F.-Ph. Hocquet ◽  
A. Born ◽  
P. Klein ◽  
S. Rakkaa ◽  
...  

Author(s):  
Eberhard Zangger ◽  
E.C. Krupp ◽  
Serkan Demirel ◽  
Rita Gautschy

Evidence of systematic astronomical observation and the impact of celestial knowledge on culture is plentiful in the Bronze Age societies of Egypt, Mesopotamia and Europe. An interest in astral phenomena is also reflected in Hittite documents, architecture and art. The rock-cut reliefs of 64 deities in the main chamber of Yazilikaya, a Hittite rock sanctuary associated with Hattusa, the Hittite capital in central Anatolia, can be broken into groups marking days, synodic months and solar years. Here, we suggest that the sanctuary in its entirety represents a symbolic image of the cosmos, including its static levels (earth, sky, underworld) and the cyclical processes of renewal and rebirth (day/night, lunar phases, summer/winter). Static levels and celestial cyclicities are emphasised throughout the sanctuary – every single relief relates to this system. We interpret the central panel with the supreme deities, at the far north end of Chamber A, as a reference to the northern stars, the circumpolar realm and the world axis. Chamber B seems to symbolise the netherworld.


Author(s):  
JOSEPH LEO KOERNER

This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel the Elder and Hieronymus Bosch. It considers the figure of ‘trapping’ in these artists, as a model both of everyman's relation to the world and of the picture's relation to the viewer.


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