Because of the new crown pneumonia epidemic, today's Valentine's Day was cold and cold.
But love will not disappear with the holidays, today Zhi Meijun will invite everyone to walk together, stroll in the magical and beautiful gardens of the past and the present, in a different way, jump out of the shackles of reality, personally feel nature, feel love.
<h1 class="pgc-h-arrow-right" > Flora's garden</h1>
In Rome, the goddess Flora symbolized the worship of the garden's fertile possessions, "in charge of all the flowers.".
The goddess originated in Italy and worshipped her with some ancient witchcraft activities with gender connotations. It allows us to understand how deeply ingrained naturalistic beliefs related to gardens were in Roman culture.
Ovid once recounted that Flora was once the Greek fairy Chloris. One spring day, the god of spring wind was passing through a field, and he found the fairy Kroris and immediately fell in love with her.
He kidnapped Kroris and later married her in a proper ceremony. He granted Klauris control of flowers, gardens, and cultivated farmland as a reward and keepsake of love.
Jan Brueghel the Elder and Henderick van Balen, The Garden of Flora, circa 1620, now in the collection of Villa Durazzo Pallavicini in Genoa, Italy
Flora's garden was filled with so many flowers that she couldn't even count them. Therefore, the image of Flora represents spring in the first place, because spring is the season she is in charge.
Her portraits are usually set against the backdrop of a thriving garden surrounded by flowers.
Some of the images she appears in are based on natural elements and natural phenomena, and many depict the fertility of the earth on two levels.
These two dimensions complement each other, one is pragmatic and the other is entertaining, heaven-like. The pragmatic dimension focuses on nutrition and reproduction, while the recreational, heaven-like dimension focuses on the wonders of flowering.
< h1 class="pgc-h-arrow-right" > Monet's Giverny Garden</h1>
In 1883, Monet moved to the mansion of Giverny. Seven years later, he bought the plot next to the house and immediately set about transforming it into a garden.
Claude Monet, The Garden at Giverny, 1902, now in the Belvedere Gallery in Austria
In 1893, he bought a plot of land on the other side of the railway line with a small pond overgrown with wild water lilies in the middle.
Monet decided to expand the pond and remove the wild orchids that grew there and replace them with carefully selected orchids that bloomed white, yellow, purple and pink.
Later, he built a small Japanese bridge at one end of the pond, and Monet was familiar with the Japanese style. The small bridge is the focal point of the visual axis, which runs from the residence throughout the garden.
Claude Monet, White Water Lilies, painted in 1899, is now in the Pushkin Museum in Moscow, Russia
Every day Monet tended to the garden, as if the garden were a model posing for the portrait.
Countless works of art depict the garden from spring to winter, from morning to night. Monet skillfully activated every bit of its pictorial poetry with color. The water lily became Monet's favorite image, and until his death, he studied the drawing of the water lily, and did not stop after contracting eye disease and blindness.
Monet seems to see his garden as a work of art, just as he often observed nature and drew inspiration from it, and he also regarded the garden as a painting and wanted to give it life.
< h1 class = "pgc-h-arrow-right" > estates of Este</h1>
The Este Estate in Tivoli, Italy, is the most spectacular building in the entire Renaissance. It was started in 1550 on the orders of Cardinal Ippolito II of Este and was not completed until thirty years later.
The Villa d'Este at Tivoli, written in the 17th century, is now in the Piazza Pietra in Florence, Italy
This huge garden is also known as the "valley of pleasure". The garden as a whole was remodeled from the palace building, which was originally a Benedictine monastery in the old days, but was rebuilt by Pirro Ligorio to take its shape at that time.
The garden is divided into two parts, one side on a wooded hillside, this one is more wilderness, close to the palace building, with diagonal paths running through the middle, and the other side is gentle and divided into regular geometric shapes. The two areas are separated by canals.
In fact, the theme of the garden is to show the different forms of water, such as fountains and pools, and the construction of the water features constitutes a complex allegory.
Jean-Honoré Fragonard, Le Petit Parc (Little Garden), circa 1765, is now in the Wallace Collection in London, England
The moral connotations of the estate of Este are taken from mythological stories: Hercules, sometimes posing as a patron and sometimes as a clever tourist, comes to a fork in the road and must choose between the path to good and the path to evil.
This is the logical construction of the garden, reflected in the architectural and spatial elements of the garden, which are easily recognizable by visitors.
On top of the logical construct is a secret, non-alien form of structure that only a few people can discern. It is a path to the unknown, to the deepest secrets of nature and history, to the knowledge of nature and the human spirit.
The path takes on three stages, one of which concerns the myth of the local patron saint and Orpheus, the second of which concerns the understanding of the underworld and the power of the sea from the perspective of Hesiod's cosmology, and the third of which is the exploration of the soul.
In the third stage, the garden's four labyrinths represent the innate confusion of scientific and cultural exploration, with domes adorned at the intersection of cross-shaped green galleries symbolizing the intersection of faiths.
<h1 class="pgc-h-arrow-right" > Malamaison</h1>
The garden of Malmaison in France is the most interesting artistic achievement born after the introduction of landscape art principles to France.
In the late 18th century, Joséphine Bonaparte acquired the estate of Maramaison. Between 1800 and 1802, the estate was the seat of the French government's offices and meetings of its courtiers.
After the architects Charles Percier and Pierre Fontaine underwent initial restorations, the garden was transformed into a landscape garden by Louis-Martin Berthault.
The wide lawns of the Malamamaison Garden are dotted with bushes, and a meandering stream flows through the garden, into a lake where boats can be traveled, and then continues to flow to the flower house.
Anton Ignaz Merlin, Parque de La Malamison, composed in 1810, now in the Musée Nationale de Las Maraisons, Château de Malamaison in Rue-Malaison, France
The fame of the garden is probably related to Napoleon's passion for flora and fauna. Josephine, with the help of nursery workers, botanists and scholars from the Natural History Museum, introduced plants from Europe and around the world, and cultivated a number of rare plants in the garden, of which about two hundred had never been cultivated in France before.
The most eye-catching thing in the garden is probably the rose. About two hundred and fifty roses are planted in the ubiquitous flower beds, and the roses planted in vases are also moved outside during the warmer season. Even in the face of the blockade in France, Josephine was able to continue to introduce plants, because the British were as obsessed with flowers as she was.
Auguste Garneray, View of the Lake of Malmaison, written in the early 19th century, is now in the Musée Nationale de Malamaison at the Château de Malamaison in Lué-Maramaison, France
The botanical painter Pierre-Joseph Redouté drew nearly one hundred and seventy roses introduced by Josephine in the album Les Roses, for which Reddout himself became famous.
His watercolour works depict plants in a meticulous way, and use the artistic grammar of Romanticism to the fullest. At that time, the romantic trend had just begun to sweep through Europe.
Pierre-Joseph Reddout, Bengal Rose, 1817-1824, now in the Musée Nationale de Las Malaissons in Rue-Marmaison, France
<h1 class="pgc-h-arrow-right" > love in the garden</h1>
The origins of the Garden of Love can be traced directly back to the enclosed gardens of biblical culture, a place of joy and temptation, a place where man and nature coexist in harmony.
Medieval court tradition held that the Garden of Eden symbolized the spring of the world, the revival and rebirth of all things. Spring brings hope, so it is inseparable from the concept of heaven on earth. The tradition of celebrating spring dates back to the time of the Song of Solomon, became a common literary element in the Middle Ages, and was taken to its extreme in The Legend of the Rose.
Bruges Master, Image of the Garden of Pleasure, miniature illustration of The Legend of the Rose, circa 1495, now in the British Museum in London, England
In the paintings depicting the Garden of Love, the couples either walk together or sit on the ground, setting off their backgrounds and restoring the true appearance of the garden.
The fundamental difference between the Garden of Eden and the Garden of Love is that in the Garden of Love, lovers are free to enjoy the fruits of the garden without violating any prohibition of death as punishment.
In the Garden of Love, we can no longer encounter the theme of obedience and disobedience. Lovers can indulge in each other's company and the pleasure of eating, which provides the atmosphere for courtship. Sometimes musicians are present to entertain the lovers, and sometimes the lovers are happy to play the salty or six-stringed violin together. There are usually fountains in the garden, symbolizing the fountain of youth.
The Fountain of Youth, a weave from 1430 to 1440, is now in the Unterlinden Museum in Colmar, France
<h1 class="pgc-h-arrow-right" > games, sports, and activities</h1>
The garden is not only a charming place for parties and romantic encounters, but also a designated venue for sports. For example, since ancient times, hunting has been a pastime loved by the nobility.
Jacque de Celloles, Archery Contest, circa 1480, now in the Bibliothèque Nationale de France
Hunting is almost always done in the man-made "wild", that is, the bushes that make the environment more barren and can be used as a breeding area for hunting grounds. Driven by an obsession with hunting, it became common practice to build country houses in parks. Later, a large number of country and country gardens emerged in these parks.
The Game of Blindman's Buff, an illustration in Pierre Sala's collection of French love poems, written in the early 16th century, is now in the British Museum in London, England
Before the Industrial Revolution, sports were an exclusive activity of the aristocracy. By the time of the Industrial Revolution, workers began to have spare time and a desire to participate in sports activities.
Sir John Lavery, The Tennis Party, 1885, now in the Aberdeen Art Gallery and Museum in Scotland
The rise of sports and leisure activities coincided with the birth and growth of parks in Europe's large cities, with Paris being the most prominent representative. There are a variety of recreational activities in the park, from concerts and dances to long-distance cycling, and so on, to enjoy a carefree time escaping the daily predicament.
Adriaen van de Venne, A Jeu de Paume before a Country Palace, written in 1614, now in the Paul Getty Museum in Los Angeles, USA
The masterpieces of the Impressionists bear witness to these new fashions. Many urban designers of the 19th century believed that recreation in nature would give people more social control and prevent discontent from sparking revolutions.
Édouard Manet, Music in the Tuileries Gardens, 1860, now in the National Gallery, London, Uk
<h1 class="pgc-h-arrow-right" > Garden and Labyrinth in Art</h1>
Rukia Iperuso
There are books to the United States - Huazhong University of Science and Technology Press
December 2019
From tranquil retreats to earthly paradises that delight the senses, from magnificent gardens that celebrate imperial power to large parks of the 19th century... Gardens and gardens have always been the evolving "architectural life forms" in garden art. They not only serve as the background stage of human civilization, but also integrate themselves into the endless humanistic imagination and incarnate into the enduring legendary symbols.
The Italian architectural historian Lucia Impelluso has sought clues in more than 380 exquisite paintings and manuscripts to weave a decoded feast of garden art. These famous gardens, real or imaginary, are constructed of countless symbols and symbolic elements that reflect the aesthetic interests of people for hundreds of years.
☾ Super interesting garden art change history
From the geometric gardens of Egypt to the cardinal's private villas to the famous British national parks, this book takes you through 3,000 years of iconic garden examples and understand the evolution of garden art.
☾ Super interesting to see the painting new perspective, untold garden story
This book is unique, focusing on the garden and labyrinth in art, analyzing the garden elements and their symbolic meanings in more than 380 classic paintings for you, taking you to understand the interesting stories about the garden and the labyrinth in history.
☾ An easy-to-carry, easy-to-read art primer for everyone
The whole book adopts thematic unit arrangement, concise length, independent chapters, and can be turned from any page in the book. The binding adopts 32-open hardcover, which is easy to carry, which is very suitable for travel, commuting and other fragmented time reading, and can start the advanced journey of art anytime and anywhere.
<h1 class="pgc-h-arrow-right" > extended reading///gallery series</h1>
Classic Portraits in Art
[Italian] Elizabeth Gigant
November 2019
This painting, you may never have understood the classic portrait painting in 丨 art
Portrait is one of the great themes in artistic creation, with the oldest history and richest form, from ancient Roman sculpture, Egyptian tombs, court paintings, to photography, pop art, contemporary installations, it has survived the baptism of time.
This book is written by Elisabeth Gigant, a well-known Italian art historian, who vividly and clearly tells the anecdotes behind the work in the form of "illustration" in the form of "illustration", and explores its relationship with culture, history, politics, etc., so that readers can understand the meaning of the work intimately and easily, and travel in the vast art world.
Gold, Gems and Jewelry in Art
[Italian] Sylvia Maraguzzi
January 2020
This book unfolds from five levels, integrating the interpretation of different aspects of jewelry in painting, helping readers understand the meaning and symbolism implied by the artist's expression of jewelry in painting images, understanding the communication and exchange between artists and customers, and enabling the public to better understand the background and humanistic historical facts of the eras that gave birth to paintings.
Classic Women in Art
[Italian] Marta Gonzalez
[Italian] Himna Bartolina
Through rich images and condensed text combinations, this book presents the changes in the identity and status of women in Western civilization. Many of the classic themes of art history are inextricably linked to women, who are the muse of the artist's creative inspiration.
In these hundreds of images, the female figure of the artist is both fictional and real, noble and simple; it is also a symbiosis of beauty and ugliness, happiness and suffering.
Through these images, women constantly switch identities in different scenes such as myths and legends, religious stories, historical events, and work and labor, so that women's social status changes with the changes in human ideology, and finally achieve contemporary women.
Geography and Fantasy in Art
Cover to be determined
[Italian] Francesca Pellegrino
February 2020
Through the analysis of images in paintings through the lens of art, this book gives readers an understanding of the gradual understanding of real or imaginary geographical knowledge in the West since the discovery of the New World at the end of the 19th century.
The book tells the asymptotic process of people's geographical knowledge from fiction to speculation to discovery and understanding, including maps, geographers, astrologers, and fables; explores the continents and their inhabitants, paying special attention to the customs, traditions, and influences of distant continents and peoples on artistic styles; and finally, the wonderful imagination of exotic animals and myths, including travel and adventure stories.