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ملف:Eyck.hubert.lamb.750pix.jpg
الملف الأصلي (1٬348 × 1٬000 بكسل حجم الملف: 230 كيلوبايت، نوع MIME: image/jpeg)
هذا ملف من ويكيميديا كومنز. معلومات من صفحة وصفه مبينة في الأسفل. كومنز مستودع ملفات ميديا ذو رخصة حرة. |
ملخص
تقديس الحمل | ||||||||||||||||||||||||||||||||||||||||||||||||||
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الفنان |
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العنوان |
The Ghent Altarpiece (wings open) |
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جزء من | Seven Wonders of Belgium | |||||||||||||||||||||||||||||||||||||||||||||||||
نوع العمل | لوحة متعددة الدرفات / winged altarpiece / لوحة فنية | |||||||||||||||||||||||||||||||||||||||||||||||||
نوع فني | فن مقدس | |||||||||||||||||||||||||||||||||||||||||||||||||
الوصف | ||||||||||||||||||||||||||||||||||||||||||||||||||
أشخاص مُصوَّرون | ||||||||||||||||||||||||||||||||||||||||||||||||||
التاريخ | ١٤٣٢ | |||||||||||||||||||||||||||||||||||||||||||||||||
خامة العمل | زيت على oak panel | |||||||||||||||||||||||||||||||||||||||||||||||||
الأبعاد |
ارتفاع: ٣٫٤ م ؛ عرض: ٥٫٢ م dimensions QS:P2048,+3.4U11573 dimensions QS:P2049,+5.2U11573 |
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المجموعة |
institution QS:P195,Q938154 |
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رقم التصنيف |
10000092 and 426 (كاتدرائية القديس بافو في غنت) |
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موقع الكائن |
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تاريخ الغرض | ||||||||||||||||||||||||||||||||||||||||||||||||||
تاريخ العرض | ||||||||||||||||||||||||||||||||||||||||||||||||||
المراجع |
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ملف الضبط الاستنادي | ||||||||||||||||||||||||||||||||||||||||||||||||||
المصدر/المصور |
معرض الويب للفن: صورة Info about artwork reference_wga QS:P973,"http://www.wga.hu/html/e/eyck_van/jan/09ghent/1open.html" |
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الترخيص (إعادة استخدام هذا الملف) |
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إصدارات أخرى |
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العناصر المصورة في هذا الملف
يُصوِّر
تاريخ الملف
اضغط على زمن/تاريخ لرؤية الملف كما بدا في هذا الزمن.
زمن/تاريخ | صورة مصغرة | الأبعاد | مستخدم | تعليق | |
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حالي | 09:17، 14 فبراير 2011 | 1٬348 × 1٬000 (230 كيلوبايت) | commonswiki>Jappalang | Larger resolution |
استخدام الملف
ال1 ملف التالي مكررات لهذا الملف (المزيد من التفاصيل):
- ملف:Eyck.hubert.lamb.750pix.jpg من ويكيميديا كومنز
ال3 صفحات التالية تستخدم هذا الملف:
بيانات وصفية
هذا الملف يحتوي على معلومات إضافية، غالبا ما تكون أضيفت من قبل الكاميرا الرقمية أو الماسح الضوئي المستخدم في إنشاء الملف.
إذا كان الملف قد عدل عن حالته الأصلية، فبعض التفاصيل قد لا تعبر عن الملف المعدل.
تعليق ملف JPEG | EYCK, Jan van
(b. before 1395, Maaseik, d. before 1441, Bruges) The Ghent Altarpiece (wings open) 1432 Oil on wood, 350 x 461 cm Cathedral of St Bavo, Ghent The most famous work of Jan van Eyck is a huge Ghent Altarpiece with many scenes in the city of Ghent. It is said to have been begun by Jan's elder brother Hubert, of whom little is known, and was completed by Jan in 1432. On the frame a quatrain is inscribed which states that the polyptych was begun by Pictor Hubertus Eyck, and finished by his brother Jan, at the request of Jodocus Vijd, deputy burgomaster of Ghent, warden of the church of St John, and of his wife, Elisabeth Borluut, who commissioned it. The verse was placed there when the altarpiece was installed on 6 May 1432. The stylistic analysis reveals that in the painting the work of two different hands can be clearly discerned. The overall conception of the altarpiece is the work of Hubert, along with the execution of certain parts, such as the panels in the lower tier. Here, the manner is archaic, and reflects the continuing dominance of the international style that was practised by Broederlam. The composition is typically unoriginal: the landscape is still conceived as a distant background, with which the figures at the front have no organic relation, an effect that is reinforced by the bird's eye point of view. This polyptych is mystical, not to say esoteric, in intention, and is imbued throughout with both spiritual and intellectual signification. When opened, it represents the communion of saints, which is "the new heaven and the new earth", in the words of the Revelation of St John. Thus the central panel of the lower tier portrays the saints symbolizing the eight Beatitudes gathered round the altar where the sacrifice of the Lamb is taking place, at the centre of the heavenly garden which has sprung from His blood. To left and right, in the foreground, are two processions facing one another. One of these is made up of the Old Testament patriarchs and prophets, and the other of figures from the New Testament. Some of them are kneeling, barefoot. Behind them is assembled the hierarchy of the Church - popes, deacons and bishops, wearing sumptuous jewelry and clothes in the bright red of martyrdom. In the background are two further groups, facing each other as if they had just emerged from the surrounding shrubbery. These are, on one side, the Confessors of the Faith, tightly packed together and almost all dressed in blue; and on the other side, the Virgin Martyrs, holding out palm fronds and wearing in their hair crowns of flowers of a kind traditionally worn by young girls at certain holy ceremonies. In the middle of the panel, around the altar where the Lamb spills forth his blood, angels kneel, holding the emblems of His Passion. Grace is symbolized by a radiant dove hovering in the sky, and eternal life is represented by a fountain in the foreground. A paradisiacal landscape runs across all five lower panels, uniting them in a single composition. It is strewn with plants from different countries and flowers of different seasons. The central panel is vibrant with green, while those to the sides are more arid and rocky. The horizon sits high in the frame and is closed off by groves of trees, behind which clusters of fairy-tale buildings can be made out, representing the heavenly Jerusalem. The community of saints also extends onto the side panels. Magnificently arrayed horsemen, representing the Soldiers of Christ, are followed by the Just Judges. Opposite them are the Holy Hermits who have renounced the world, and the Pilgrim Saints, who were favourite figures of identification throughout the Middle Ages. They are led by a giant of a man, St Christopher. Many later commentators have suggested that his great height would have reminded the contemporary viewer of Jodocus Vijd's brother, also called Christopher. In the middle of the upper tier is God Almighty, the Word, essence and origin of the universe. He is dressed in red and is crowned with a magnificent tiara. On his left is Mary and on his right, St John the Baptist. These central figures are surrounded by angels who are singing or playing instruments. At the far right and left of the composition respectively are the figures of Adam and Eve. They were painted by Jan Van Eyck, and are set into trompe-l'oeil niches. Light and shadow play delicately over their forms which stand out as though they had been sculpted in the round. <P> <TABLE ALIGN=LEFT CELLPADDING=5 BORDER=1 WIDTH=320 BGCOLOR="#99CCCC"> <TR VALIGN=MIDDLE><TD><IMG SRC="/support/gif/listen.gif" BORDER=0 VALIGN=MIDDLE> Suggested listening (streaming mp3, 22 minutes):<BR><A HREF="#" onClick="w=window.open ('/music1/15_cent/dufay_hymns1.html', 'newWin', 'scrollbars=yes,status=no,dependent=yes,screenX=0,screenY=0,width=350,height=350');w.opener=this;w.focus();return true"><B>Guillaume Dufay: Hymns</B></A> </TD></TR></TABLE>
--- Keywords: -------------- Author: EYCK, Jan van Title: The Ghent Altarpiece (wings open) Time-line: 1401-1450 School: Flemish Form: painting Type: religious |
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