Live language symbols of the genre "Vanitas". Dreams about something more Description of the painting of the fuss fuss

The theater "School of Dramatic Art" prepared for the audience another large-scale experiment: director Boris Yuhananov put in his relative principle for himself for himself - a creative Mix of the "Resistant Prince" Calderon and "Pir during the Plague" Pushkin, incredible action in six parts, More precisely - "In three acts, two cemeteries and one concert."

In the play of the Spanish playwright of the XVII century, Pedro Calderon "Resistant Prince" is told by the history of Portuguese Infanto Fernando, captured by Moors. For his liberation, Sultan asks for the delivery of the city of Seuts, however, the prince, a non-consumer honor, he himself refuses such, in his opinion, unequal exchange and prefers to slavery with the difficulty of the city conquered by the Portuguese.

Behind this fundamental act, Fernando is not only the traditional noble ideas about honor and debt, but also the "dark" baroque look at human life.

The name of the essay, who has become a business card of Calderon - the play "Life is a dream," it fully conveys the essence of this relationship, which, very simplifying, could be designated as "what the will, that the invoice is still." Gloomy fatalism, focus on the vehicles and mysterious randomness of being, as well as inevitability and even, in a similar context, the joy of death, is all among the motives that prompted the Prince to accept their fate and abandon the possibility of redemption. A similar look at fate is a kind of version of the Christian humility, expressing in the ability to see in all sorts of, even the most gloomy life of the peripetia, the good will of the Mercy Creator, to resist the incomprehensible movement of which a person has neither right or opportunity. There is only the choice of the inner path, the path of the soul, in the circumstances given by some kind of circumstances.

The gloomy baroque puff, which breathes a rather "heavy" poetic text of Calderon, connects to a play with aesthetics of phantasmagoria and absurdity, designed to show the "sleepy" and the fancy nature of reality. The performance, on the designation of the director, becomes a trip, not only and not so much in time and space - to the place of captivity Fernando to the African city of Fets XV century, but, rather, a fascinating swim in the depths of cultural and author unconscious, walking in the labyrinths of the endless and endless Life-sleep, which includes everything and everything in the existing one-time, simultaneously alloy. Cancellations asked by Calderon are filled with suddenly invasion of foreign, "random" characters, to which the heroes of Pushkin are joined, and the poet himself. The director splits the fabric of the Pieces on thin fibers and interses them with comic and musical divertisses (including songs from Vertinsky to Hesbura), the violence of absurdist fantasy and grotesque details like the "running" throne of Sultan.

The intense mood of fadam, literally extinguishing the viewer with the hazard and erasing of the usual logic of things, Yuhananov, Multi, tormented by echoing the text of the Calderon Plays, achieves the feeling of sinking and chimericity, natural to sleep.

Doubted the "reality" of reality, the director, as if Buratino, who puered the old canvas in the Kamork Pope Carlo, breaks to being of a different order: Zensky turning inside out of the linear nature of the plot and the walls of the plays, the base leads through a cheerful and frightening chaos, to breakthrough in This freedom, and the understanding that "everything is a dream," becomes the first step towards awakening.

The spectator who was gone by the spectator, then flowing exactly and as if he would seem to seem to be "reality", then suddenly hesitated by some paradoxical detail, it seems to be repeatedly repeated with the actors of words that in the logic of sleep and its inner reality of the paradox is not awesome or strange. This "otherworldly" reality is free from "natural" laws, it connects all the worlds, temporary layers, opportunities and impossibility together. Her main postulate is the lack of structure and logic: you should not wait for what you know how to behave and how the characters will look like the next moment - you do not make claims to characters and the logic of your own sleep, allowing it to mix and face images, people and events Uncompressive "in reality". In a sleep chamber, everything exists at the same time and does not need an explanation, justification and sense - a great game just playing myself and clearly gets pleasure from it, frightening the fear inside itself and rejoicing his own joy.

Director-Demiurg masterfully ribbed fabric of enchanted illusion, preparing for viewers a lot of mysteries, questions, surprises and causing out of fog scenes and mirages of their own fantasy all new spirits, ghosts and incubuses. The vision of their ominous, charming, frightening games and tricks becomes the main intrigue. Unfortunately, the variability and charming madness of this collective dream, unsuccessfully trying to keep in the shaky frame of the plot of the play, but in the end, it turns everything in everything in full, in full swing: it is for the time that in order to occupy the illusory, scattering dream bread, and it is worth going to the performance.

The actors are selflessly plunge into the element of the tragedy-Balagan - and the performers of the main and secondary roles are worthy of all silence, but the farther, the more Fernando (Igor Yatsko) with its fiery philosophical speeches, as well as the tragic and mysteriousness of their victim, attracts the attention of the viewer.

The setting is incredibly generous in terms of sound: artists who director presented a truly unlimited repertoire, sing and solo, and a chorus. Dramatic Arab motives are replaced by ironic numbers, accompanied by a living ensemble, and sound effects during action are created by actors directly on the scene using a variety of tools, such as drums. Dancing are not covered: the characters selflessly postpone the dance with sabers, then the eccentric Argentine tango.

Fyshmagoric scenery add an identity to action, sometimes dissolving in the flickering color fog: the space of the scene with the help of light changes quickly and beyond recognition, as accuracy as follows the entouge of sleep.

The format of the hall in the form of an amphitheater is very successful for the performance, descending to the "flat" scene - the director periodically draws separate actions and the replicas of artists to sitting immediately spectators, breaking the "fourth wall" and making partners of their electrified dreams of all those present. As a result, everything is finally mixed, and deal in who the dreams, and who is a dream, no longer left no possibility ...

Apr 30, 2013 Maria Estrova

Vanitas (lat. Vanitas, letters. - "Just, vanity, beaches") - genre variety of still life, representing attributes " brushing of earthly existence": Hourglass, skull, globe, redeemed candle, ancient folio ...

Antonio de Probe (1608-1678) Vanitas -Florence, Uffizi.

Baroque painting genre, allegorical still life, whose composite center is traditionally human skull. Similar pictures, early stage Development of still life, was intended to remind the frequency of life, the futility of pleasure and the inevitability of death. I received the greatest distribution in Flanders and the Netherlands in the XVI and XVII centuries, individual examples of the genre are found in France and Spain.

Juan Valdez Leal (1622 - 1690)

The sad kind of these items is neutralized by the surrounding gifts of the earth: flowers, fruits, baskets with fruit and playing these things by children - Putti. Aesthetics of the genre, complete semantic contrasts and " reduced"Tracks on the verge of ironic grotesque, typical of the art of the Baroque style.

Still life type " vanitas "Began to appear in the Flemish painting of the XVII century., And then got spread in the art of Holland, Italy and Spain. The most famous masters P. Fan der Willieg, M. Vithos, Y. Fan Stark loved writing a still-life rebus with mysterious objects and inscriptions. These paintings became a mystery of the Baroque era.

S.Stoskopff, Vanitas (OK 1650)

Spanish artists leanned towards more optimistic "Bodegonese", and Italians, and above all, Venetians preferred still lifes as an accessory, background for the image of beautiful women behind the toilet in front of the mirror. One of the most interesting still-life Swiss Y. Heinz ( oK. 1600.) Located in Pinakotek Brera in Milan, Italy. In the genre "Vanitas" Flemish painters worked in France: Philippe de Champion, J. Buyon. Characteristic that "Vanitas "Started in the history of art predominantly Flemish and Dutch phenomenon.

Antonio de Probe (1608-1678) Gentleman and Death

Symbols found on the canvases were designed to remind the strugnure of human life and on the benefits of pleasures and achievements:

Skull - Reminder of the inevitability of death. Similarly, the portrait is only a reflection of a person of a living person, and the skull is only a form of once a living head. The viewer must perceive it as " reflection"He most clearly symbolizes the beaches of human life.

Rotten fruit - Symbol of aging.
Mature fruits They symbolize fertility, abundance, figuratively wealth and well-being.
A number of fruits have its own value: the fall is denoted pears, tomatoes, citrus, grapes, peaches and cherries, and of course apple. Erotic subtext have figs, plums, cherries, apples or peaches.
Flowers ( fading) ; Rose - Venus flower, symbol of love and sex, which is vain as everything inherent to man. Mac - a sedative from which opium is manufactured, a symbol of mortal sin of tension. Tulip is a collectibles object in the Netherlands of the XVII century, a symbol of oddificity, irresponsibility and unreasonable handling of the state-given state.

Adrian Van Utrecht

Grain sprouts, ivy or laurel branches ( seldom) - symbol of the revival and cycle of life.
Sea shellssometimes live snails - Mollusk sink is the remains of a live animal, it denotes death and beaches. Creeping snail - the personification of the mortal sin of laziness. Golly mollusks denote the duality of nature, a symbol of lust, one more of the mortal sins.
Bottle - Symbol of sin of drunkenness.
Red Surgical Prints, Medical Instruments- Reminder of diseases and fragmentation of the human body.
Bubble - shortness of life and suddenness of death; Failure to expression homo Bulla — « man is a soap bubble».

Simon - Renar de Sen - Andre

▪ Cups, playing cards or bones, chess (rarely) - sign of erroneous life goal, finding pleasures and sinful life. Equality of opportunity in gambling was also a reprehensive anonymity.

Smoking pipe - Symbol of fleeting and elusive earthly pleasures.

Gorgeous smoking candle (grinding) or oil lamp; Cap to clean the candle - a burning candle is a symbol of a human soul, its attenuation symbolizes care.

Carnival mask - He is a sign of lack of man inside it. Also designed for festive masquerade, irresponsible pleasure.

Antonio de Pereda (1608-1678), Knight's sleep.1655

Mirrors, Glass (Mirror) Balls- The mirror is a symbol of vanity, in addition, also a sign of reflection, shadow, and not a present phenomenon.

Jacob de Gaines

Broken dishes, usually glass wine glasses.
Empty glass, opposed to full, symbolizes death. Glass symbolizes fragility skinny porcelain - Clean. Mortar and pestle - symbols of male and female sexuality.

Knife - It reminds of human vulnerability and its mortality. In addition, it is a phallic symbol and a hidden image of male sexuality.
Sand and mechanical clock - Figure time.

F. de Champagne

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

M. Harnett

Books and geographical maps ( mappa Mundi.), pubescent feather- Symbol of sciences.
the globelike land and starry sky.
Palette with brushes, laurel wreath (usually on the head of the skull) - Symbols of painting and poetry.
Portraits beautiful womenAnatomical drawings. Letterssymbolize human relationships.

Pieter. Claesz.

Wallets with coins, jewelry boxes - Jewels and cosmetics are designed to create beauty, female attractiveness, at the same time they are associated with vanity, narcissism and mortal ▪ arrogant. They also sign about the absence of their owners on the canvas.
Weapons and armor - The symbol of power and power, the designation of what can not be taken with him into the grave.

Korie Everuto (Everto Collier), Vanitas) .1669

Crowns and papal thiara, scepters and powers, wreaths from leaves - signs of transient terrestrial domination, which is opposed to the heavenly world order. Like masks, symbolize the absence of those who wore them.
Keys - symbolize the power of a housewife controlling stocks.
Ruin - symbolize the transient life of those who inhabited them sometime.

Bartolomeus Brain Senior 1st floor. XVI B.

Sheet of paper with moral (pessimistic), eg: Vanitas Vanitatum; ARS LONGA VITA BREVIS; Hodie Mihi Cras Tibi (today I, tomorrow you); FINIS GLORIA MUNDI; Memento Mori; Homo Bulla; In Ictu Oculi (in the blink of an eye); AETERNE PUNGIT CITO VOLAT ET OCCIDIT (Glory about heroic actions will dispel exactly as well as sleep); Omnia Morte Cadunt Mors Ultima Linia Rerum (everything collapses death, death is the last border of all things); Nil Omne (everything is nothing)
David Bayie (1584 - 1657) Self-portrait with Vanitas, 1651

Flanders and the Netherlands in the XVI and XVII centuries, individual examples of the genre are found in France and Spain.

The term dates backbiblical verse (EcCle 1: 2 ) Vanitas Vanitatum et Omnia Vanitas ("The bustle of fuss, said Ecclesiast, bustles, - all the fuss!").

Sad species of these objects neutralized by the surrounding gifts of the earth: flowers, fruits, baskets with fruit and playing these things by children -putty. Aesthetics genre, complete semantic contrasts and " reduced"Tracks on the verge of ironic grotesque , typical of style art Baroque .

Still life type " vanitas "began to appear in flemish painting XVII century, and then got spread in art Holland , Italy and Spain . The most famous masters P. Fan der Willie, M. Vithos, Y. Fan Stark loved writing still lifes- rebuses with mysterious objects and inscriptions . These pictures became a mystery of the Baroque era.

Spanish artists leanned to more optimistic"Bodegoness" , and Italians, and above all venetian , preferred still lifes in quality accessory , background For the image of beautiful women behind the toilet before mirror. One of the most interesting still-life Swiss Y. Heinz ( oK. 1600.) located in Pinakotek Brera B. Milan , Italy.In the genre "Vanitas" Flemish painters worked in France: Philippe de Champion, J. Buyon. Characteristic that "Vanitas "remained B. art history mainly Flemish and Dutch phenomenon.

Symbols The canvases found were designed to resemble the struck of human life and on the benefits of pleasures and achievements:

Skull - Reminder of the inevitability of death. Similar to howportrait It is only a reflection of once a living person and the skull is only a form of a ever-live head. The viewer must perceive it as " reflection"He most clearly symbolizes the beaches of human life.
Rotten fruit - Symbol of aging.
Mature fruits They symbolize fertility, abundance, figuratively wealth and well-being.
A number of fruits have its own value: the fall is denoted pears, tomatoes, citrus, grapes, peaches and cherries, and of course apple. Erotic subtext have figs, plums, cherries, apples or peaches.
Flowers ( fading) ; Rose - Venus flower, symbol of love and sex, which is vain as everything inherent to man. Mac - a sedative from which opium is manufactured, a symbol of mortal sin of tension. Tulip is a collectibles object in the Netherlands of the XVII century, a symbol of oddificity, irresponsibility and unreasonable handling of the state-given state.
Grain sprouts, ivy or laurel branches ( seldom) - symbol of the revival and cycle of life.
Marinesinks sometimes live snails - Mollusk sink is the remains of a live animal, it denotes death and beaches. Creeping snail - the personification of the mortal sin of laziness. Golly mollusks denote the duality of nature, a symbol of lust, one more of the mortal sins.
Bubble - shortness of life and suddenness of death; Failure to expression homo Bulla - « man is a soap bubble».
Gorgeous smoking candle (grinding) or oil lamp; Cap to clean the candle - a burning candle is a symbol of a human soul, its attenuation symbolizes care.
Cups, playing cards or bones, chess (rarely) - sign of erroneous life goal, finding pleasures and sinful life. Equality of opportunity in gambling was also a reprehensive anonymity.
Smoking pipe - Symbol of fleeting and elusive earthly pleasures.
Carnival mask - He is a sign of lack of man inside it. Also designed for festive masquerade, irresponsible pleasure.
Mirrors, Glass (Mirror) Balls- The mirror is a symbol of vanity, in addition, also a sign of reflection, shadow, and not a present phenomenon.
Broken dishes, usually glass wine glasses. Empty glass, opposed to full, symbolizes death. Glass symbolizes fragility skinny porcelain - Clean. Mortar and pestle - symbols of male and female sexuality. Bottle - Symbol of sin of drunkenness.
Knife - It reminds of human vulnerability and its mortality. In addition, it isphallic symbol And a hidden image of male sexuality.
Sand and mechanicalclock - Figure time.
Musical instruments , notes - brevity and ephemeral nature of life, symbol of arts.
Books and geographical maps ( mappa Mundi.), pubescent feather- Symbol of sciences.
the globelike land and starry sky.
Palette with brushes, laurel wreath (usually on the head of the skull) - Symbolspainting and poetry.
Portraits of beautiful women, anatomical drawings. Letterssymbolize human relationships.
Red Surgical Prints, Medical Instruments- Reminder of diseases and fragmentation of the human body.
Wallets with coins, jewelry boxes - Jewels and cosmetics are designed to create beauty, female attractiveness, at the same time they are associated with vanity, narcissism and mortal sin arrogance. They also sign about the absence of their owners on the canvas.
Weapons and armor - The symbol of power and power, the designation of what can not be taken with him into the grave.
Crowns and papal thiara, scepters and powers, wreaths from leaves - signs of transient terrestrial domination, which is opposed to the heavenly world order. Like masks, symbolize the absence of those who wore them.
Keys - symbolize the power of a housewife controlling stocks.
Ruin - symbolize the transient life of those who inhabited them sometime.
Sheet of paper with moral (pessimistic), eg: Vanitas Vanitatum; ARS LONGA VITA BREVIS; Hodie Mihi Cras Tibi (today I, tomorrow you); FINIS GLORIA MUNDI; Memento Mori; Homo Bulla; In Ictu Oculi (in the blink of an eye); AETERNE PUNGIT CITO VOLAT ET OCCIDIT (Glory about heroic actions will dispel exactly as well as sleep); Omnia Morte Cadunt Mors Ultima Linia Rerum (everything collapses death, death is the last border of all things); Nil Omne (everything is nothing)

Very rarely still lifes this genre include human figures, sometimes skeleton - personification of death. Objects are often depicted in disorder, symbolizing the overthrow of the achievements that they denote.

Still Life vanitas. In the initial form, the frontal images of the skulls were presented (usually in niches with a candle) or other symbols of death and fragility, which were written on reverses of portraits in the Renaissance Epoch. These vanitas. , as well as flowers, which also painted on revolutions - the earliest examples of the tradition of still life in the European art time ( for example, the first Dutch still life - it is "Vanitas" Brush Jacob de Gaines). These skulls on the turnover of portraits symbolized mortality of human nature (mors Absconditus.) And they were opposed to the living state of the model on the turnover of the picture. The earliest vanitas. - Usually the most modest and gloomy, often almost monochrome. Still Life vanitas. it was allocated to an independent genre about 1550.

Artists of the XVII century ceased to portray the skull of strictly frontally in the composition and usually " clan"His aside. As the Baroque era is developing, these still lifes have become more magnificent and abundant.

They acquired popularity by the 1620s. The development of the genre down to the decline in its popularity in about the 1650s. focused in Leiden, the Netherlands city, which Bergstrom in his study on the topic of the Netherlands Still Life announced the "Center for Creating vanitas. In the 17th century. " Leiden was an important center of Calvinism, the currents that the moral depravity of mankind condemned and sought a solid moral code. Bergstrom believed that for Calvinist artists, these still lifes were a warning against vanity and fragility and were an illustration of the Calvinist morality of that time. Also for the addition of the genre probably influenced the humanist lesions and heritage of the genre memento Mori..

Skull - man mortality emblem. At the same time, it is considered as a compatibility of the soul, the life of the beings and is endowed with a special ritual value since Paleolithic. At Celts, he was revered as a focus of the sacred strength that defended a person from adverse forces and gave health and wealth. Skull - attribute of Hindu hermits, sannyasins, as a sign of their renunciation of peace on the way to salvation. Also acts as an attribute of the Terrible deities of Tibetan Pantheon. Taoist immortal (Xian) are often depicted with an exorbitant screaming skull - a sign that they have accumulated in their brains a huge amount of Yang energy in their brains.

Muslims are associated with a well-known saying that the fate of a person is written on his chel, with seams of a skull, whose twisers come to the letters.

Skull, like a braid, and the old woman enters the main matrix of death symbols. The skull is the attribute of many images of Christian apostles and saints, such as the AP. Paul, St. Magdalene, St. Francis Assisi. Herkers are often depicted with a skull, which indicates their reflections on death. On some icons, the crucifixion is depicted with the skull and bones in the foot and serves as a reminder of death on the cross. According to one legend, this cross stood on the bones of Adam, and thanks to the crucifixion of the Savior on it, all people will acquire eternal life.

In Western culture, death was shifted from the place due to her in the life cycle, although it is the most ancient, like the birth, the main biological function. Mechanisms of dying are developed by nature with the same attention as the mechanisms of birth, with care for the good of the body, with the same abundance of genetic information for leadership in all phases of death, which we are accustomed to find in critical situations of our life. Therefore, death puts his signs, carefully warns of his approach. No wonder the ancient "Remember the death" should have been expressed in symbols and signs that are affixed on the roads of life. Gadels of all sorts had a human skull for a different kind of witchcraft, for example, put on their headboard and called on the skull to speak the truth.

In Alchemy "Dead Head" - the remains in the crucible, useless for further actions and transformations of alchemical decays. In a figurative sense - something, deprived of all content, a dead shape, a kind of slag. Sabinians believed that the human soul was descended precisely to the skull, so ritual bowls made from the skulls. Rabbi Maimonide made the delight of the Mirt around the skull, Rabbi Eleazar described the ways of making teraphim - challenged the firstborn, cut off her head, shed and put a gold plate with the inscription, and then waiting for messages from him. No wonder the Terafim kidnapped Rachel, so that the head did not adopt Lavana, that Jacob fled. We see the remnants of the Lemurian cult of Teraphim in Christianity - Adamova head, as well as in the Occult Reich, where there was an order and a whole division called "Dead Head". And even in modern life - one of the signs of the International Moscow Film Festival was the Red Head of Therafima.

Some peoples of Siberia have existed a custom: put the head of the dead beast, for example, a bear, and asked for his generic spirit of the patron sacrifices, for having to kill this animal. Mexicans have the depths of earthly Skull. Black label - the sign of the dead head in pirates and flibusers - sent as a warning of someone who was prepared by death.

It is from the skull of the killed horse crashes a snake, a terrible thing of Oleg.

White skull is a sign of the Higher Sephir, which highlights the dew and returns the dead to life. Scandinavian one always took with him the head of Mimir, who brought him to lead from other worlds. The story of the fiery skull of Jacob de Mole symbolizes vitar vitalityAnd this story began in 1314, when the chief master of the Knights of the Temple burned to the fire. They say that the remaining in the living the Templars paid the executioner and he, holding the fire, took out the skull, which was then cleared. Then the skull together with the idol Buffomet was sent to Scotland, from where in times of conquering Masons of America, migrated to Charlestone's town, where modern palladians were credited. According to Albert's testimony, during the contact of the highest ranks with this skull, which rested on the black granite column, the light flashed inside the skull and flooded the entire room.

According to another witness, the mythical Dr. Bataila, the flames broke out of the openings of the eye: then the red, then white, then the green and these three rays were like fire snakes. In addition to the fiery properties, the skull possessed the force of a curse. Speaking at the time of the fiery ritual, blasphemous words. Indeed, during the execution in 1314, Yakov de Mole cursed the three main perpetrators of the court over the Order - Pope of Clement V, who died 40 days after the Master's death, and after a few months he died from an unknown terrible disease and Philip Beautiful, then the same fate was divided Three of his son who died one after another for 14 years. They were called "damned kings." Further development of the legend attributes Yakov de Mole, the prophecy that the dynasty of the French kings will be interrupted on the plate. And the curse came true: in 1786. Louis XVI in the Masonic Assembly was convicted of death, and after three years, during the revolution, beheaded.

In the Tibetan tradition of karma PA ( black Crown) There was a complex multi-stage meditation to human bones that allowed a person to overcome the fear of death, not forgetting about the mortality of life. Also in Tibet there was a bowl of dripping, a ritual vessel made from the human skull. This ritual object appeared as a symbol of compassion, since, according to a figurative representation, the blood of all deeply felt creatures was placed in it.

Dutch still life is admiring the real world. Even when the canvase is depicted not luxurious snacks and cups with wine, but the symbols of death and the strugnure of earthly life

After long wars with Spanish Habsburgs, the Northern Netherlands at the end of the XVI century have gained independence (de jure it was fixed only in 1648th). In Europe, the first republic was formed with the Democratic Constitution and the winning Calvinism. This political revolution caused just as radical changes in visual arts. Calvinism condemned all pomp and forbidden an image in churches. If earlier artists were engaged in the main decoration of the temples and palace interiors, now they lost these orders. But there was a massive demand for machine painting - the pictures of a relatively small format, which in the Burgers and even peasant houses served simultaneously and decoration, and a kind of narrator, as we have a TV now. The picturesque boom gave rise to a whole pleiad of outstanding artists: in the Little Holland (the main province of the Northern Netherlands) at the same time, two universal genius - Jan Vermeer and Harmers Rembrandt, an amazing portrait of France Hals, and in general there were more than two thousand painters.

The landscape was popular, the scene of privacy, still life, which in Holland was called Stilleven - "quiet, frozen life." Still lifes at the "Small Dutch" (so later began to name Dutch artists who worked in these "small" genres) were distinguished by an amazing thematic diversity: breakfasts (table with snacks and wines), flowers - with insects, snails and lizards (depicted with accuracy worthy Botaniko-zoological atlas), smoker attributes - tubes, tobacker and other, fish still lifes, hunting - with weapons and trophies, scientists - with books, globes, musical instruments... A special discharge was the allegorical still lifes of Vanitas - "Justa fuss", talking about the frequency of life, tested all the things and inevitable death. The name refers to the biblical venitas Vanitas Vanitatum Omnia Vanitas ("Justa fuss, said Ecclesisaist, bustle fuss, - all the fuss!", Eccl. 1: 2). The genre is partly leading its pedigree from images of skulls and flowers, which sometimes wrote in the revolutions of portraits artists of Renaissance. These signs, apparently, served as a kind of chambers for a living model depicted in the portrait (for a superstitious-magical consciousness, a portrait is dangerous because he kids the soul of a person shown on it). Still lifes Vanitas appeared about 1550. The earliest of them are almost monochrome, strict and gloomy, usually the frontally depicted skull (most often in a niche with a candle). In the XVII century, the composition of them in accordance with the tastes of the era becomes predominantly baroque, with sharp color contrasts, the jet of objects - luxury attributes, vanity and fuss, as in the picture of Yeine Van Stark Vanitas Vanitatis, presented in the room. Still lifes these are trendy in the 1620s. Especially they were famous for the city of School Leiden. The plot of them dates back to the medieval allegorical paintings: "Triumphs" and "dance of death" - the deaths of all ages, titles and classes in the world of others, will lead to death. Only "dance" on Vanitas are not people, but things. In a word, for an amateur to seek hidden in the picture codes any Dutch still life - Nakhodka: even smoke from the tube there is not just smoke, but the ephemeralism symbol of our hopes.

	Book - The tragedy of the Sofokla "Electra" - in this case the symbol is multi-valued. Placing it into the composition, the artist recalls the inevitability of the reward for any crime is not on earth, so in the sky, since it is this thought that the tragedy is permeated. Antique motive in such still lifes often symbolized the continuity of art. On the title page there is the name of the translator, the famous Dutch poet Yosta Wang Den Vondel, whose works on antique and biblical plots were so topical that he was even persecuted. It is unlikely that the artist placed Vontela randomly - it is possible that, speaking of the world's judgments, he decided to mention the vanity of power.
	Sword and helmet - emblem of transient military glory.
	White with red plume - Picture composition center. Feathers always mean vanity and bustle. On the apparatus with a plumage date dating. Wan der der Helst in 1670 in this helmet in the posthumous portrait of Admiral Sterlingverf. Admiral helmet is still present on several still lifes. Wang Stark.
	Portrait of Sangina. Unlike Sangin oil, it is very poorly preserved as paper in contrast with canvas. This sheet says about the artist's efforts, felling and torn edges are designed to strengthen this idea.
	Golden fringe - Vanity of luxury. This fringe van Stark wrote once again in still life with oranges and lemon, which is also exhibited in GMIA.
	Skull - In the ancient culture, the attribute of the Kronos (Saturn), that is, a time symbol. Fortune Wheel also portrayed with a skull. For Christians, he is a sign of worldly vanity, a mental contemplation of death, an old-standing attribute. With him were portrayed by Holy Francis of Assisi, Holy Jerome, Maria Magdalin, the Apostle Paul. The skull is also a symbol of the eternal life of Christ, crucified on Calvary, where, according to legend, the skull of Adam was swallowed. Ear, who pays the skull, is the symbol of the immortality of the soul ("I AM Life Bread" - John 6:48), hopes for the life of eternal.
	Stack of dilapidated papers - Knowledge vanity.
	Powder horn on a chain - A very characteristic subject for Dutch still life. Here it, apparently, should be interpreted as something that beats death, unlike the horns of abundance.

Fate canvas

The picture is written by oil on the canvas of a rather large format (98 × 84 cm) around 1670. Dmitry Golitsyn Prince acquired it in 1766 for the Hermitage at the auction, where the collection of French artist Jacques Avda was sold. In 1854, Nikolai I ordered it to sell it together with many other pictures to replenish the treasury exhausted by military expenses. Since 1928, still life is kept in the State Museum fine arts in Moscow.

Philippe de Champagne (1602-1674). Life, death and time. About 1671 / Philippe de Champaigne "S Vanitas Is Redued to Three Essentials: Life, Death, And Time. Circa 1671. 28x37 CM Musée de Tessé, Le Mans, France. Via

At about the same time, when strict monks greet recalling death, and a little earlier: in the 16-17 centuries in the Netherlands and Flanders, the allegorical type of Vanitas paintings was distributed. This word is translated from Latin as "vanity; emptiness, badness, insignificance; futility, uselessness; falseness, boasting, vanity, frivolism." In the pictures of Vanitas, the composite center served as a human skull, they were intended to remind the frequency of life, the futility of pleasure and the inevitability of death.

Rogir Van der Wayden (1399/1400-1464). Triptych family marriage, about 1452 tryptic in closed form. Louvre, Paris / The Outer Panels of Rogier Van Der Weyden "S Braque Triptych Shows The Skull of the Patron Displayed in the Inner Panels. The Bones REST ON BRICK, A SYMBOL OF HIS FORMER INDUSTRY AND ACHIEVEMENT

The name Vanitas comes from the phrase "Vanitas Vanitatum et Omnia Vanitas" / "Justa and all sorts of vanitas" from the book of Ecclesiast or a preacher, the authorship of which is attributed to the King Solomon, in the Bible it is placed among Solomon books. For the first time, the words "Vanitas Vanitatum et Omnia Vanitas" are found in the Latin translation of the Bible Vulgate.

3.

Andrea Previtali Called Cordeliaghi (1470-1528) (ITALIAN) (Painter). Portrait of a man - Memento Mori. Panel. 23.8 x18 cm. Museo Poldi Pezzoli. Inv. 1598Verso.

"The words of Ecclesiast, the son of Davidova, the king in Jerusalem.

The bustle fuss, said Ecclesiast, the fuss of fuss, - all the fuss!
What is the benefit of a person from all the works of him, which he worries under the sun?
The genus passes, and the genus comes, and the Earth is forever.

4.

Jan Gossaert (1478-1532). Trompe-L "Oeil Skull. Date 1517, Wood. 43x27 cm. Louvre Museum. Via

The sun rises, and the sun comes, and hurries to the place in its place where it goes back.
There is a wind to the south, and goes to the north, it spins, spinning on the move, and the wind is returned to his circles.

5.

Bartolomeus Brain Senior (about 1493-1555). Vanitas, the first half of the XVI century. / Barthel Bruyn The Elder (CIRCA 1493-1555). Vanitas, Oil ON PANEL. Dimensions 61 × 51 cm. Current location kröller-müller museum. Inscriptions: Placecard Next To the Skull Reads in Latin: Omnia Morte Cadunt, Mors Ultima Linia Rerum. In English Translation: Everything Passes With Death, Death Is the Ultimate Limit of All Things Via

All rivers flow to the sea, but the sea does not overflow: to the place where the rivers come from, they are returned to flow again.
All things - in labor: the man cannot retell everything; It will not be saturated with eye vision, will not be filled with the ear hearing.

6.

Solesmes, Bibliothèque de l'Abbaye Saint-Pierre, 018, f. 145. HEURES D'Ottobeuren, 16th Century

What was, then will be; And what was done, it will be done, and there is nothing new under the sun.

7.

LIVRE D "HEURES, EN LATIN EN EN FRANSAIS, À L" Usage De Cambray. Devise. Vous Seul. Date: 1401-1500. Bibliothèque de L "ARSENAL, MS-1185 RÉSERVE. PROVENANCE: BNF.FR.

It happens something that they say: "Look, this is new"; But [this] was already in centuries that were before us.
No memory of the former; And about what will be, there will be no memory for those that will be after.

8.

Douai, Bibliothèque Municipale, 0118, Detail of F. 281 (Marginal Illustration for Office of the Dead). Early 16th CENT. Via.

I, Ecclesiast, was the king over Israel in Jerusalem;
and I betray my heart to explore and experience wisdom everything that is being done under the sky: this hard lesson gave God the Sons of Human to exercise in it.
I saw all the things that are done under the sun, and now, everything is a fuss and tomorrow!
Curve can not become direct, and what not, one cannot count.

9.

San Marino, Huntington Library, HM 01132, Detail of F. 106. Book of Hours, Use of Rome. ITALY, LATE 15TH CENTURY

I spoke with my heart so: here, I was exalted and acquired wisdom more than all that were before me over Jerusalem, and my heart saw a lot of wisdom and knowledge.
And I betray my heart to know the wisdom and know the madness and stupidity: I learned that this is the tomorrow of the Spirit;

10.

St. Gallen, Stiftsbibliothek, Cod. Sang. 357, Detail of F. 343. Missal. St. Gall, 1555.