scholarly journals Materializing the Invisible: Landscape Painting in Viceregal Peru as Visionary Painting

Arts ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 57
Author(s):  
Sebastian Ferrero
Keyword(s):  
Distinctive Feature ◽  
17Th Century ◽  
Landscape Painting ◽  
Spiritual Experiences ◽  
Critical Perspective ◽  
Fertile Ground ◽  
Religious Painting ◽  
Secondary Element ◽  
The Invisible

Landscape painting in Peru typically does not receive much attention from critical dis-course, even though the adoption of the Flemish landscape by Andean viceregal painters became a distinctive feature of Peruvian painting of the second half of the 17th century. Considered a consequence of a change in the artistic taste of viceregal society, the landscape was perceived as a secondary element of the composition. In this article, we will analyze the inclusion of the Flemish landscape in Andean religious painting from another critical perspective that takes into account different spiritual processes that colonial religiosity goes through. We analyze how the influence of the Franciscan and Jesuit mysticism created a fertile ground where landscape painting could develop in Peru. The Andean viceregal painters found in the landscape an effective way to visualize suprasensible spiritual experiences and an important device for the development in Peru of a painting with visionary characteristics.

Masters of Dutch 17th-Century Landscape Painting

1992 ◽  
Vol 74 (2) ◽  
pp. 334
Author(s):  
Ann Jensen Adams ◽  
Peter C. Sutton
Keyword(s):  
17Th Century ◽  
Landscape Painting

scholarly journals „Monologami są rozmowy” . Liryczność w Pierścieniu Wielkiej Damy Cypriana Norwida

2016 ◽  
Vol 7 (2) ◽  
pp. 7
Author(s):  
Joanna Trzcionka
Keyword(s):  
Distinctive Feature ◽  
Spiritual Experiences ◽  
Main Character ◽  
Structural Elements ◽  
Poetic Language ◽  
Time And Space ◽  
Essential Component ◽  
Shaping Time ◽  
Time Space ◽  
Personal Experiences

“Dialogues are Monologues”. Lyricism in Cyprian Norwid’s The Ring of a Great Lady The article attempts to show how lyricism as an essential component of Cyprian Norwid’s The Ring of a Great Lady affects the artistic shape of the work. This issue is shown by the observation of selected structural elements of the drama, such as time, space and the construction of the main character. In the work the space of the drama and time of the action have been used as metaphors and moved into the sphere of the protagonists’ spiritual experiences. Both time and space planes undergo subjectivism which is the result of lyricism that pervades Norwid’s work. A window – the element of the theatre building plays a prominent role in shaping time and space of the drama. It is a point that links the outside world to a close space of the play which becomes simultaneously extended. The point performs the function of the prism through which this world penetrates the author’s life. In poetical expressions the window also becomes a place of the protagonists’ overcoming time-space limitations. The protagonists’ lyrical monologues, above all Mak-Yks’s monologues, show the evolution of the man’s personality. This character is externally passive, inactive though he exudes the unparalleled inner energy. The lyricism contained in dialogues and monologues, the shaping of a poetic language, its continual tension between expressing his personal experiences and a parallel general reflection initiate a multidimensional, symbolic significance of the drama. The analysis of lyrical fragments also shows that Mak-Yks, likewise Norwid’s other protagonists share a distinctive feature with the author, and the conclusions lead us to reflect that The Ring of a Great Lady is a lyrical drama.

scholarly journals Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting

2018 ◽  
Vol 40 (4) ◽  
pp. 211-213
Author(s):  
Ulrike Gehring (book editor) ◽  
Pieter Weibel (book editor) ◽  
Jane Russell Corbett (review author)
Keyword(s):  
17Th Century ◽  
Landscape Painting ◽  
Mapping Spaces

Guo Xi on Painting the Invisible Gaze of the Dao

2021 ◽  
Vol 8 (2) ◽  
pp. 287-306
Author(s):  
David Chai
Keyword(s):  
Song Dynasty ◽  
First Person ◽  
Landscape Painting ◽  
The Song Dynasty ◽  
Chinese Aesthetics ◽  
History Of ◽  
The Invisible

Abstract For the Song dynasty painter and theorist Guo Xi, Daoism runs like veins through his Lofty Appeal of Forests and Streams, helping it become one of the greatest works of landscape painting theory in China. This essay explores the influence Laozi and Zhuangzi had on Guo Xi's thought, paying particular attention to the latter's implementation of spirit, nature, and incompleteness. Guo Xi succeeded in giving these Daoist themes an aesthetic significance that had yet to be fully realized by his predecessors, while expounding them in a manner that remained faithful to the texts from which they were drawn. While Guo Xi was not the first person in China to employ the principles of Daoist philosophy in their discourse on landscape painting, his ability to synthesize them into a cohesive representation of the invisible gaze of the Dao led to his becoming one of the most eminent painters and aesthetic theorists in the history of Chinese aesthetics.

Masters of 17th-Century Dutch Landscape Painting

1988 ◽  
Vol 18 (1/2) ◽  
pp. 76 ◽  
Author(s):  
Christopher Brown ◽  
Peter C. Sutton
Keyword(s):  
17Th Century ◽  
Landscape Painting
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