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Consequences of our personal choices in life.
http://www.doctorparnassus.com/
http://en.wikipedia.org/wiki/Lily_Cole
It’s about the power of imagination to transform us, the need to tell our stories and listen to those of others and the danger of ever accepting received wisdom from the forces of authority and convention. It is also about death and immortality: a theme that resonates all the more because it was the last, film Heath Ledger worked on before his untimely passing left it half finished.
In the present day, immortal thousand-year-old Doctor Parnassus (Christopher Plummer) leads a travelling theatre troupe—including a sleight of hand expert, Anton (Andrew Garfield), and a dwarf, Percy (Verne Troyer)—that offers audience members a chance to go beyond reality through a magical mirror in his possession.[5] Parnassus had been able to guide the imagination of others through a deal with the Devil (Tom Waits), who now comes to collect on the arrangement,[6] targeting the doctor's daughter, Valentina (Lily Cole). The troupe, which is joined by a mysterious outsider named Tony (portrayed by Heath Ledger, Johnny Depp, Jude Law, and Colin Farrell),[7] embark through parallel worlds to rescue the girl.[8]
Director Terry Gilliam and screenwriter Charles McKeown wrote the script for The Imaginarium of Doctor Parnassus,[9] their first collaboration since The Adventures of Baron Munchausen (1988).[5] When he was approached with the basic concept by Gilliam, McKeown thought of the central character of Parnassus "as a semi-eastern medicine man evolved"[14], and in retrospect he further said about the script's sensibilities, "[i]t is about the theme of imagination, and the importance of imagination, to how you live and how you think and so on. And that's very much a Terry theme. [...] I like the idea of storytelling being the thing that sustains the universe."[14] Gilliam described the premise as a "fun and humorous story about the consequences of our personal choices in life",[6] and explained his goal for the film: "It's autobiographical. I'm trying to bring a bit of fantasticality to London, an antidote to modern lives. I loved this idea of an ancient travelling show offering the kind of storytelling and wonder that we used to get, to people who are just into shoot-em-up action films."[5] Gilliam and McKeown based the character of Tony on former British prime minister Tony Blair, who "would say the most insane things and probably he'd believe them himself".[10]
Gilliam repeatedly said in interviews that the character of Parnassus was meant autobiographically, a tale of an aging man with a vivid imagination in a world that doesn't listen anymore.[15] Still being caught in depression over the disruption of his last self-written project The Man Who Killed Don Quixote, his constant struggle with the established studio system, as well as becoming aware of his progressing age, worried that he was going nowhere with his latest projects and that he might not have much time left, Gilliam put a number of references to sudden, tragic, and premature death into his script before the loss of Ledger became a reality. In fact, Gilliam felt compelled to emphasize time and again that upon the film's release many things might be mistaken as references to Ledger's fate but that the script wasn't changed apart from re-casting Ledger with Depp, Farrell, and Law.[16][17]
Behold an unintentional metatextual triumph, Terry Gilliam's The Imaginarium of Doctor Parnassus. The metatext, and the unintention, are provided by Heath Ledger, who died before his time. His genre-warping, Oscar-winning performance as the Joker in The Dark Knight was the funeral. This film is the wake.
There is no way around it, and ultimately, Parnassus makes good use of it: the context around the actor supercharges the text. Ledger was last seen dangling from the Gotham City skyline before disappearing into the wind like smoke; when we meet him here, he is still dangling, but now dead. The motley band of Doctor Parnassus' Imaginarium revive him, and the motley crew of The Imaginarium of Doctor Parnassus do the same.
Ledger plays (an incarnation of) Tony, a role appropriate to a ghost. He is the trickster adopted into Parnassus' travelling attraction. The Imaginarium is a gateway into the mind of Doctor Parnassus, and when Tony steps inside, he becomes the actors who took up Ledger's mantle after his death. Johnny Depp, particularly, retrieves the juiciest plum from the tragic situation, meditating on death and immortality even as we, the audience, are still becoming accustomed to seeing Depp's face atop Ledger's splendid white suit.
The film is like mainlining Gilliam. Even including Tideland, the director has not made a film so intrinsically bound up in his unique sensibility in nearly twenty years. This is Gilliam straight from the pipe, in that description's full meaning: we get the bad, and the good.
The bad, as usual, is a weakness in story. Parnassus' deal with the devil is left underdeveloped and underexploited throughout the critical first act. Characters do not so much develop, as exist to motivate sequences and scenes. There's a lot of nonsense and needless confusion here.
But behold the good. Unchained and emboldened, Gilliam's images are almost indescribably beautiful, ripe and lush; they are as unmediated an explosion of imagination as has been seen on cinema screens lo these many years. After a career marked by so much heartbreaking compromise, it is touching to see so undiluted an expression.
Parnassus is played by Christopher Plummer as a thinly veiled caricature of Gilliam himself. Parnassus both speaks poetically about the fundamental need for storytelling to enable us to make our own choices, and makes decisions out of hubris which Gilliam at his wildest would find familiar. This, at least, shows some self-awareness to the self-aggrandizing raving lunatic of the cinema. With Gilliam, we have arrived at a point where whatever weaknesses might still exist on the table no longer matter. One wants to shout, Terry, keep making movies. Whatever he is doing, it is vitally, vitally needed.
He is first seen, in Terry Gilliam's The Imaginarium of Doctor Parnassus, as a shadow swinging across the River Thames — "doing a river dance," says one of the men who spots him. In fact, he's dangling from a rope, his hands and feet bound by miscreants unknown. They left him "hanging by the neck till dead," the other man says, adding sourly, "if he had any sense." The hanged man is saved, to make a final film. It's Heath Ledger.
When the 28-year-old Australian actor died in early 2008 of an accidental prescription-drug overdose, audiences around the world mourned his loss. He had achieved so much in The Patriot and Brokeback Mountain; he would reveal a wild, chilling side in The Dark Knight (which posthumously won him the Oscar for Best Supporting Actor); and he promised so much more over the long career people expected of him. But a smaller group of cinephiles grieved for an additional reason: at the time of his death, Ledger was in the middle of shooting Terry Gilliam's Parnassus. Oh no, his cultists cried, another Gilliam film bites the dust. (See pictures of Ledger.)
That's because, complementing the director's list of official movie credits — which stretches from Monty Python and the Holy Grail and Time Bandits through the magnificent Brazil and up to the giga-weird child nightmare Tideland four years ago — is a furtive, but nearly as famous, shadow filmography of unrealized projects. A purported Time Bandits sequel, an adaptation of A Tale of Two Cities and two stabs at filming Alan Moore's Watchmen all went awry. J.K. Rowling, a Gilliam fan, reportedly wanted him to direct the first Harry Potter movie; Warner Bros., not so much. Chris Columbus got the gig.
Gilliam's legendary doomed project was the 1999 The Man Who Killed Don Quixote, starring Johnny Depp and French doyen Jean Rochefort. When the 69-year-old Rochefort suffered a herniated disc, the insurance company pulled the plug on the production. (Ten years later, Rochefort is here at Cannes, looking as suave as ever.) All that remained of the film was a feature-length documentary, Lost in La Mancha, which shows the director as a persistently urgent, imaginative soul, sunny and funny even as Stonehenge-size dominos fall on him.
The problem with financing Gilliam's own grand imaginarium is that his movies are giant dreams requiring pricey sets and effects. What's kept him in business for the best part of 35 years is that big-time movie stars savor being part of those dreams. Depp rejoined Gilliam for Fear and Loathing in Las Vegas. Brad Pitt headlined in 12 Monkeys, and Robin Williams swept through Grand Central Station during The Fisher King. Ledger and Matt Damon played the title characters in Gilliam's last large fantasy, The Brothers Grimm, in 2005. Last year, stars came to his rescue yet again. As a tribute to Ledger, Depp, Jude Law and Colin Farrell volunteered to film the uncompleted parts of the late actor's role. They also hoped to save Gilliam's bacon, or rather his producers' lettuce. The finished product was on display on May 22, out of competition, at the Cannes Film Festival. (See pictures of the red carpet at Cannes.)
Ledger is fine, parading loads of his grinning charisma, though the part offers him no last-testament revelation. He plays Tony, an entrepreneur of a kids' charity foundation (Suffer the Children) that gangsters had financed, then stolen the donations from. Given a second chance at life, he tries to revive a tatty but magical traveling act, the Imaginarium, run by an immortal lush named Parnassus (Christopher Plummer) and assisted by his daughter Valentina (Lily Cole), her would-be beau Anton (Andrew Garfield) and a mighty dwarf (Verne Troyer, who was Mini-Me in the Austin Powers series). Tony proves to be a natural salesman, a roguish charmer, and soon the Imaginarium has plenty of customers. The special ones step onstage through the Mylar mirror and enter a fantasy world tailored to their desires — until it leads to their doom. Parnassus, you see, has made a deal with the Devil (Tom Waits), and if he doesn't trap five souls by Monday and send them to hell, the Devil gets his daughter. (See the top 10 performances of 2008.)
At his death Ledger had finished most of the scenes establishing his character. The faux-Ledger actors have the majority of their scenes inside the Imaginarium. Depp escorts one enthusiastic lady through a lovely underwater empyrean that leads to the "One Nite Motel" (hell). Law, who scrambles inside to escape the Russian gangsters who hanged him, does a dexterous stilt walk on a million-foot-high broken ladder. Both appearances are brief. Farrell carries the bulk of Act Three, as Tony gets his comeuppance. Given that they're tripping through a fantasy-scape, the guest shots work pretty well. But casting multiple actors in the same role can't be considered an innovation. Todd Haynes split the main character in his 2007 Bob Dylan bio-collage I'm Not There into six parts — one of which was taken by Heath Ledger. (See the top 10 Cannes Film Festival movies.)
I've postponed this paragraph as long as possible; and I'd just as soon not write it, because I've been a Gilliam admirer for ages, since the Python days, and in theory I still am. But his new movie, which Gilliam dreamed up with his longtime writing partner, Charles McKeown, is mostly dismal. For an immortal monk, Dr. P has little magic and no grandeur; his MO is to get drunk and orate at his underlings. The pudding-faced Cole can summon no sorcery or teen sexuality, the role's two minimal requirements; and the only note Garfield can strike is jealous pique, an unattractive quality even in flashes, let alone for most of a two-hour movie. Troyer, the smallest actor, makes the biggest and best impression. He's a figure of saturnine power and towering comic skill.
Since his first films, in the medieval muck of Holy Grail and Jabberwocky, Gilliam has reveled in squalor; he loves nothing more than to rub his characters' (and the audience's) noses into the mess that antiquity forced most of humanity to inhabit, or into a fantasy world with a strong stench of the dystopian. This cynical vision can be cleansing, if cut with wit. But there's not much of that here. Certainly the Imaginarium scenes possess a visual splendor familiar to earlier Gilliam films. But similar effects were more fully achieved in his 1988 The Adventures of Baron Munchausen; further, they furnished an emotional core far richer than the one in Parnassus. One is left with the suspicion that Gilliam is less a director than a supremely gifted art director, and less a moviemaker than a confabulator of sensational stage sets and wondrous effects.
Parnassus touches the heart of a bereft moviegoer only at the end. The closing credit reads, graciously and feelingly, "A Film from Heath Ledger & Friends."
The Pahari School of painting originated in the Hill kingdoms of Himachal Pradesh
The Pahari School of painting originated in the Hill kingdoms of Himachal Pradesh, a mountainous region of North India, during the 17th-19th century. The most notable schools of art categorized as Pahari include Basohli, Mankot, Nurpur, Chamba, Kangra, Guler, Mandi, and Garhwal. Many paintings from these schools were done in miniature form.
The Pahari School flourished from Jammu to Almora in the sub-Himalayan India, through Himachal Pradesh, each region producing unique variations within the genre. Perhaps the most famous, or at least the most prolific school, was that of the Kangra School, from which came an extensive range of delicate and beautifully detailed paintings.
The Kangra School became widely popular with the advent of Jayadev's Gita Govinda, of which many extant manuscripts feature exquisite Kangra illustrations. This style was copied by the later Mughal painting, many of whom were patronized by the Rajput kings who ruled various parts of the region. In part two, we will explore the Kangra School in some detail.
While perhaps not as well known as the Kangra School, but equally stunning is the Basohli School, which produced intensely brilliant canvases originating from the Basohli region of Jammu and Kashmir. Just as the Jammu/Kashmiri artists are well-known for their riotously bright colors, particularly primary reds and blues, the Basholi School paintings are equally brilliant, albeit more earth-toned.
The Guler School of painting has its roots in an early phase of Kangra Kalam. Around the mid-18th century, a group of Hindu artists trained in the Mughal style sought the patronage of the Rajas of Guler in the Kangra Valley. They developed a style of painting very delicate, with precise sketch drawings and brightly colored paint, rich in cool blues and greens that often had the luster of liquid.
Of all the hill states, Guler is thought to have the longest tradition in the art of painting. During the rule of Dalip Singh (1645-1743), Guler artists were working at Haripur. Later, during the reign of Govardhan Chand (1743-1773), a very active school of painting developed at Haripur. Numerous portraits of this Raja may be found in the Chandigarh Museum.
In fact, Guler is characterized as the birthplace of Kangra paintings. Govardhan Chand's son, Prakash Chand (1773-1779), continued the royal patronage of artists, as did his son, Bhup Chand (1790-1826). Artists in this school continued their work through the late 19th century.
The Basohli School originated in the town of Gasholi in the Kathua district of Jammu and Kashmir state. Considered by many to be the first school of Pahari paintings, the Basholi style evolved into the very prolific Kangra school by the mid-18th century.
The Basholi style of painting is characterized by a strong use of primary colours, as well as by the peculiar style of facial depiction that prevailed during the late 17th and early 18th centuries in the foothills of the Western Himalayas, in the Jammu and Punjab States. The earliest paintings in this style date to the time of Raja Kirpal Pal (1678-93).
The Basohli style spread to the Hill States of Mankot, Nurpur, Kulu, Mandi, Suket, Bilaspur, Nalagarh, Chamba, Guler and Kangra. Of these, the Chamba and Garhwal School styles are well developed, but are perhaps less familiar to devotional art lovers compared to Kangra or Basholi paintings.
The first mention of Basohli painting is in the annual report of the Archaeological Survey of India for the year 1921. Referring to acquisitions by the Central Museum in Lahore, Pakistan, the report states that "a series of old paintings of the Basohli School were purchased, and the Curator concludes that the Basohli Schools is possibly of pre-Moghul origin, and so called Tibeti pictures are nothing but late productions of this school".
The Pahari School flourished from Jammu to Almora in the sub-Himalayan India, through Himachal Pradesh, each region producing unique variations within the genre. Perhaps the most famous, or at least the most prolific school, was that of the Kangra School, from which came an extensive range of delicate and beautifully detailed paintings.
The Kangra School became widely popular with the advent of Jayadev's Gita Govinda, of which many extant manuscripts feature exquisite Kangra illustrations. This style was copied by the later Mughal painting, many of whom were patronized by the Rajput kings who ruled various parts of the region. In part two, we will explore the Kangra School in some detail.
While perhaps not as well known as the Kangra School, but equally stunning is the Basohli School, which produced intensely brilliant canvases originating from the Basohli region of Jammu and Kashmir. Just as the Jammu/Kashmiri artists are well-known for their riotously bright colors, particularly primary reds and blues, the Basholi School paintings are equally brilliant, albeit more earth-toned.
The Guler School of painting has its roots in an early phase of Kangra Kalam. Around the mid-18th century, a group of Hindu artists trained in the Mughal style sought the patronage of the Rajas of Guler in the Kangra Valley. They developed a style of painting very delicate, with precise sketch drawings and brightly colored paint, rich in cool blues and greens that often had the luster of liquid.
Of all the hill states, Guler is thought to have the longest tradition in the art of painting. During the rule of Dalip Singh (1645-1743), Guler artists were working at Haripur. Later, during the reign of Govardhan Chand (1743-1773), a very active school of painting developed at Haripur. Numerous portraits of this Raja may be found in the Chandigarh Museum.
In fact, Guler is characterized as the birthplace of Kangra paintings. Govardhan Chand's son, Prakash Chand (1773-1779), continued the royal patronage of artists, as did his son, Bhup Chand (1790-1826). Artists in this school continued their work through the late 19th century.
The Basohli School originated in the town of Gasholi in the Kathua district of Jammu and Kashmir state. Considered by many to be the first school of Pahari paintings, the Basholi style evolved into the very prolific Kangra school by the mid-18th century.
The Basholi style of painting is characterized by a strong use of primary colours, as well as by the peculiar style of facial depiction that prevailed during the late 17th and early 18th centuries in the foothills of the Western Himalayas, in the Jammu and Punjab States. The earliest paintings in this style date to the time of Raja Kirpal Pal (1678-93).
The Basohli style spread to the Hill States of Mankot, Nurpur, Kulu, Mandi, Suket, Bilaspur, Nalagarh, Chamba, Guler and Kangra. Of these, the Chamba and Garhwal School styles are well developed, but are perhaps less familiar to devotional art lovers compared to Kangra or Basholi paintings.
The first mention of Basohli painting is in the annual report of the Archaeological Survey of India for the year 1921. Referring to acquisitions by the Central Museum in Lahore, Pakistan, the report states that "a series of old paintings of the Basohli School were purchased, and the Curator concludes that the Basohli Schools is possibly of pre-Moghul origin, and so called Tibeti pictures are nothing but late productions of this school".
MEDIAEVAL CATHEDRALS: HARMONIOUS BLEND OF FAITH AND ART
"The Christian faith, profoundly rooted in the men and women of the Middle Ages", said the Pope in his catechesis during this morning's general audience, "not only gave rise to masterpieces of theological literature, it also inspired some of the most exalted artistic creations of all civilisation: the cathedrals".
Apart from the more favourable historical conditions, such as greater political stability, the artistic fervour Europe witnessed over three centuries from the year 1000 was due also to "the ardour and spiritual zeal of monasticism", thanks to which the abbeys were built. There "the faithful could remain in prayer, drawn by the idea of venerating the relics of saints, which led to incessant pilgrimages", said Holy Father to the 8,000 faithful gathered in the Paul VI Hall.
Thus the Romanesque churches and cathedrals came into being, one of the novelties of which was the introduction of sculptures which, more than seeking technical perfection, "had an educational aim. ... Their recurring theme was the representation of Christ as Judge, surrounded by the figures of the Apocalypse. In general it is the portals of Romanesque churches that present this image, underlining the fact that Christ is the Door that leads to heaven".
Benedict XVI then turned his attention to the Gothic cathedrals of the twelfth and thirteenth centuries characterised, he said, by "their vertical thrust and luminosity". They "reveal a synthesis of faith and art, harmoniously expressed through the universal and captivating language of beauty. ... The Gothic cathedrals thus sought to translate - in their architectural lines - the longing of the soul for God", while their stained glass windows caused "a cascade of light to fall upon the faithful, recounting the story of salvation".
"Gothic sculpture made cathedrals 'Bibles of stone', depicting the episodes of the Gospel and illustrating the passages of the liturgical year, from the Nativity to the Glorification of the Lord. ... Nor were the figures of the Old Testament overlooked, whose story thus became familiar to the faithful".
Yet "the artistic masterpieces created in Europe over previous centuries are incomprehensible is we do not take account of the religious spirit that inspired them", said Pope Benedict. "When faith, especially as celebrated in the liturgy, encounters art, a profound harmony is created because both wish to speak of God, to make the Invisible visible". He also indicated that during his forthcoming meeting with artists, scheduled for 21 November, he will renew his "proposal of friendship between Christian spirituality and art, as expressed by my predecessors, especially ... Paul VI and John Paul II".
"The force of the Romanesque and the splendour of Gothic cathedrals remind us that the 'via pulchritudinis', the way of beauty, is a privileged and fascinating way to approach the Mystery of God", said the Holy Father.
"May the Lord help us", he concluded, "to rediscover this way of beauty as one of the paths, perhaps the most attractive and captivating, to encounter and to love God".
Art presupposes religion, or, rather, art presupposes the God whom religion worships. As St Thomas puts it, 'just as a work of art presupposes the work of nature, so the work of nature presupposes God.' [5] The matter with which the artist works—the stone beneath his chisel, the paint on his palette—comes from nature. His artistry depends upon its order. 'Things made by art are preserved in being by virtue of natural things, as a house is supported by the solidity of its stones.' [6]
Now there is no nature without an Author of Nature, the personal and transcendent source of its being and its order. It follows, therefore, that, for St Thomas and Fra Angelico, art is a particular kind of cooperation with the Creator. The artist makes his beautiful things by following the Maker's instructions. The horseman is a true artist when he knows and acts in harmony with what God has made the horse to be. Michelangelo draws out the God-given potentialities of marble. Again to quote St Thomas: 'Things done by art and reason must be conformed to those things that are according to nature, which have been instituted by divine reason.' [7] Art in the Middle Ages is always secundum naturam. There is no aesthetic of perversity or disorder.
Man can be an artist because he is created in the image of the God who is the Artist of the world. This is the specifically Christian reinterpretation that St Thomas gives to the Aristotelian principle that 'art imitates nature.' [8] The artist cannot ignore nature, for it is the first and most marvellous poem, icon, and symphony, a measured, radiant whole, showing forth its Maker.
The source of works of art is the human intellect, which is derived from the divine intellect, and the divine intellect is the source of all natural things. Hence not only must artistic operations imitate nature, but also works of art must imitate things that exist in nature. Thus when a master artist produces a work of art, the pupil artist is well advised to pay attention to the master's work of art, so that he can work in similar fashion. That is why the human intellect, which depends on the divine intellect for its intelligible light, must be informed concerning the things it makes by observation of things that are naturally produced, so that it may work in like manner. [9]
Art not only presupposes religion, it also bears witness to it, or, rather, it somehow bears witness to the God whom religion worships. Human art is evidence of the spirituality of the intellectual soul, and hence a pointer to the Immaterial God who created the soul in His image. In man's heart there is a restless longing for truth and beauty, for order and harmony, that the satisfaction of the sense appetites cannot quench. In his joy in beauty, whether in nature or art, man receives confirmation of the spiritual dignity of his intellect. The enjoyment of beauty is always a meeting of minds. As Jacques Maritain says:
The intelligence delights in the beautiful because in the beautiful it finds itself again and recognizes itself, and makes contact with its own light. This is so true that those—such as Saint Francis of Assisi—perceive and savour more the beauty of things who know that things come forth from an intelligence, and who relate them to their author. [10]
If man's art points to God, God's art, the beauty of the natural world, proclaims Him. According to St Thomas and St Bonaventure, following St Augustine, all things carry the trace (vestigium) of their Triune Creator and thus of His beauty. [11] (Rational creatures, of course, are made to His image.) The loveliness of heaven and earth tells the glory of God. The stars of the sky, the mountains and hills, the green things upon the earth are truly beautiful, and yet, being changeable, they cannot be the artisans of their own loveliness. 'They cry aloud', says St Augustine, 'that they did not make themselves.' [12] They are beautiful because God is beautiful, though they are not beautiful as He is beautiful; compared with Him, they are not beautiful. [13] Their beauty is their voice. We can hear and question it:
Question the beauty of the earth, question the beauty of the sea, question the beauty of the air distending and diffusing itself, question the beauty of the sky . . . . Question all these things. All respond: 'See, we are beautiful.' Their beauty is a confession. These beauties are subject to change. Who made them if not the Beautiful One who is not subject to change? [14]
According to St Bonaventure, this truth of the dogma of creation was the foundation of St Francis's love of all creatures.
In beautiful things he saw Supreme Beauty Himself and through His traces (vestigia) imprinted on creation 'he followed His Beloved' cf. Job 23:11) everywhere, making from all things a ladder by which he could climb up and embrace Him who is 'utterly desirable' (cf. Song 5:16). [15]
.
For St Thomas, religion is the virtue that renders due honour to God, One and Triune, the God of infinite beauty. [16] If a man does not exercise that virtue, at least to the extent of recognizing the order of God's creation, he is incapable of art. An atheistic art is a self-contradiction. Human making has no meaning if there is no divine Maker to give man meaning. If there is no God, there is no truth, beauty, or goodness; nature has no order or harmony, and art has no foundation. There can be no culture without cult, without worship, the first act of the virtue of religion. As Balthasar says:
All great art is religious, an act of homage before the glory of what exists. Where the religious dimension disappears, the homage degenerates into something that is merely attractive and pleasing; where the glorious disappears, we are left with what is usually called the 'beautiful'. [17]
Not every artist has been religious in the sense of being a believer who formally worships the one true God, but all great art has been religious in the sense that it manifests the wonder of being, the beauty of things as they reflect the brilliance of the divine Wisdom that made them. Balthasar says of the very first works of literary art in the West, the Iliad and Odyssey: 'In no other poetry of world literature does the thought of God occur so often... the thought of His power, His presence, His working in everything, through external events, through inner inspiration and the endowing with strength.' [18] The denial of God destroys art's foundations. As George Steiner wrote some years ago in his book Real Presences:
What I affirm is the intuition that where God's presence is no longer a tenable supposition, and where His absence is no longer a felt, indeed overbearing weight, certain dimensions of thought and creativity are no longer attainable. [19]
To create, according to St Thomas, is to give being, to make something out of nothing. Therefore, creation is the proper act of God alone, of Him Who Is, whose very essence is to be. [20] The artist cannot, therefore, in the strict sense be creative. [21] He does not produce things out of nothing but reshapes what already exists. The nearest any man comes to creating is in procreation, but here, too, the secondary causality of the creature is entirely dependent on the primary causality of the Creator. Parents are parents of the whole person of their child, and yet they prepare only the matter, which is united to a spiritual soul created immediately out of nothing by God. Their role is precisely pro-creation, cooperation with the Creator in the transmission of human life. Parents do not, strictly speaking, 'create' their children; they receive them from God as His gift and the fruit of their love. That is one of the reasons why the Catholic Church condemns all techniques of in vitro fertilization as gravely sinful: they divorce life from love and make the child appear like a product rather than a person. [22]
Some art is directly ordered to the glorification of God and the sanctification of man. [23] If this ordering to religion is what the Schoolmen call the finis operis the purpose of the work of art itself, then the art is sacred art, liturgical art: for example, the paintings of Andrei Rublev and Fra Angehco, the Masses of Byrd and Palestrina, and the hymns of St John Damascene and St Thomas Aquinas. This kind of art has been defined very beautifully by the Catechism of the Catholic Church:
Sacred art is true and beautiful when its form corresponds to its particular vocation: evoking and glorifying, in faith and adoration, the transcendent mystery of God—the surpassing invisible beauty of truth and love visible in Christ, who 'reflects the glory of God and bears the very stamp of his nature' (cf. Heb 1:3), in whom 'the whole fullness of deity dwells bodily' (cf. Col 2:9). This spiritual beauty of God is reflected in the most holy Virgin Mother of God, the angels, and saints. Genuine sacred art draws man to adoration, to prayer, and to the love of God, Creator and Savior, the Holy One and Sanctifier. [24]
In other cases, the ordering of the art to the glory of God is the end of the artist, the finis operantis. In other words, his motive is to glorify God, even though the work of art itself is not destined for the beautification of church and liturgy. This is religious art, art shaped and pervaded by faith and prayer. Examples here would be the painting of Rouault, the music of Messiaen, and the poetry of St John of the Cross, George Herbert, and Gerard Manley Hopkins.
The great French Catholic poet and dramatist Paul Claudel argued that great art, even when it is not explicitly religious, can achieve good spiritual effects in others, if not in the artist himself. He gives as an example the poetry of Rimbaud. Its haunting beauty, its sense of eternity and the transcendent mystery of human life, helped to liberate Claudel from the positivistic scepticism of his youth—the sickening servile worship of science to be found in Ernest Renan.
I shall always remember that morning in June 1886 when I bought the little copy of Vogue containing the first part of Illuminations. It really was an illumination for me. At last I came out of that hideous world of Taine, of Renan and the other Molochs of the nineteenth century, that penal colony, that appalling machine governed by laws that were completely inflexible and, horror of horrors, knowable and teachable .... I had the revelation of the supernatural. [25]
Positivism, materialism, atheism—these are the deadly enemies of art, for they blind a man to the wealth and wonder of being It was from all such rude reductions of reality that William Blake asked to be delivered when he prayed, 'May God us keep/ From single vision and Newton's sleep.' [26] For a Comte or a Marx, for a Renan or a Taine the world is a machine, a closed system. But the great artists, even when they lack explicit faith, reveal the marvel of what is, in all its transcendental richness. The lovely Muse of Poetry may not always be a Christian, but, as Gertrud von Le Fort suggested, 'in her deepest impulses, unconsciously yet irresistibly, [she is) ordered towards what is Christian and is flooded with a gentle Advent-like light.' [27]
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ENDNOTES:
[5] Summa contra Gentiles 3, 65.
[6] Ibid.
[7] ST 2a2ae 50, 4.
[8] Sententia super Physicam, lib. 2, lect. 4, no. 6.
[9] Sententia libri Politicorum, lib. 1, lect. 1.
[10] Maritain, Art and Scholasticism, 25.
[11] See chap. 1, PP. 52ff.
[12] Confessiones II, 4, 6; CCSL 27, 197.
[13] Ibid.
[14] Sermo 241, 2 PL 38, 1134.
[15] Legenda Sancti Francisci, cap. 9, no. I; Sancti Bonaventurae opera omnia, vol. 8 (Quaracchi, 1898), 530.
[16] Cf. ST 2a2ae 8,, 2 and 5. On the Trinitarian dimension, the worship of the Three Persons in God, see 2a2ae 81, 3, ad I; 84, 1, ad 3; 3a 25, I, ad I.
[17] H 3/I/I, 14; GL 4, 12f.
[18] Ibid., 48; GL 4, 49.
[19] George Steiner, Real Presences (London, 1990), 229. Chateaubriand likewise argues that 'unbelief is the principal cause of the decadence of taste and genius' (Génie du christianisme, in Oeuvres complètes, vol. 16 [Paris, 1836], 4).
[20] Cf. ST 1a 45, 5.
[21] Fr Bertrand de Margerie, S.J., writes: 'The worker can only act by means of a body, a mind, a freedom that he did not give himself but that conic from the one and only Creator; and his work does not give being, but only a new configuration to the real .... A salutary and exciting humiliation: it is precisely by this dependent and conditioned work that my finite and contingent being can collaborate with the one and only, absolute Creator in the fulfilment of the universe and so be saved eternally' (Les perfections du Dieu de Jésus Christ [Paris, 1981], 183f.).
[22] See CCC 2373ff.; Congregation for the Doctrine of the Faith, Donum vitae (February 22, 1987), passim.
[23] Cf. Sacrosanctum concilium, no. 112, on sacred music.
[24] CCC 2502.
[25] Jacques Rivière and Paul Claudel, Correspondance 1907-1914 (Paris, 1926), 142f. Newman said something similar about the influence of Sir Walter Scott's literary art on the Oxford Movement: he helped to 'prepare men for some closer and more practical approximation to Catholic truth' ('Prospects of the Anglican Church', in Essays and Sketches, vol. 1, new ed. [New York, 1948], 337).
[26] Letter to Thomas Butts (November 22, 1802); Selected Poetry and Prose of William Blake (New York, 1953), 420.
[27] Gertrud von Le Fort, 'Vom Wesen christlicher Dichtung', in Aufzeich-nungen und Erinnerungen (Zurich, 1958), 47.
.
Related IgnatiusInsight.com Articles:
• Modern Art: Friend or Foe? | Joseph Pearce
• Evangelizing With Love, Beauty and Reason | An Interview with Joseph Pearce
• The Measure of Literary Giants | An Interview with Joseph Pearce
• Why Are There So Many Ugly Churches? | An interview with Moyra Doorly, author of No Place For God
• A Great Building Disaster | Excerpt from No Place For God | Moyra Doorly
• Designed Beauty and Evolutionary Theory | Thomas Dubay, S.M.
• The Quintessential--And Last--Modern Poet | Fr. George William Rutler
• A Summary of Christian Doctrine | Paul Claudel
.
Fr. John Saward (b. 1947) is a fellow of Greyfriars and associate lecturer of Blackfriars at the University of Oxford. He previously held the posts of Professor of Dogmatic Theology in the International Theological Institute, Gaming, Austria and Visiting Professor in Systematic Theology and Christology in the same Institute. Ordained as an Anglican clergyman in 1972, he and his family were received into the Catholic Church in 1979 at Campion Hall, Oxford. He is the author of several books, including The Way of the Lamb: The Spirit of Childhood and the End of the Age, Cradle of Redeeming Love: The Theology of the Christmas Mystery, Redeemer in the Womb, and The Beauty of Holiness and the Holiness of Beauty: Art, Sanctity, and the Truth of Catholicism. He has also translated several works, including Hans Urs von Balthasar's Scandal of the Incarnation: Irenaeus Against the Heresies. Fr. Saward also contributed an essay to John Paul the Great: Maker of the Post-Conciliar Church.
Apart from the more favourable historical conditions, such as greater political stability, the artistic fervour Europe witnessed over three centuries from the year 1000 was due also to "the ardour and spiritual zeal of monasticism", thanks to which the abbeys were built. There "the faithful could remain in prayer, drawn by the idea of venerating the relics of saints, which led to incessant pilgrimages", said Holy Father to the 8,000 faithful gathered in the Paul VI Hall.
Thus the Romanesque churches and cathedrals came into being, one of the novelties of which was the introduction of sculptures which, more than seeking technical perfection, "had an educational aim. ... Their recurring theme was the representation of Christ as Judge, surrounded by the figures of the Apocalypse. In general it is the portals of Romanesque churches that present this image, underlining the fact that Christ is the Door that leads to heaven".
Benedict XVI then turned his attention to the Gothic cathedrals of the twelfth and thirteenth centuries characterised, he said, by "their vertical thrust and luminosity". They "reveal a synthesis of faith and art, harmoniously expressed through the universal and captivating language of beauty. ... The Gothic cathedrals thus sought to translate - in their architectural lines - the longing of the soul for God", while their stained glass windows caused "a cascade of light to fall upon the faithful, recounting the story of salvation".
"Gothic sculpture made cathedrals 'Bibles of stone', depicting the episodes of the Gospel and illustrating the passages of the liturgical year, from the Nativity to the Glorification of the Lord. ... Nor were the figures of the Old Testament overlooked, whose story thus became familiar to the faithful".
Yet "the artistic masterpieces created in Europe over previous centuries are incomprehensible is we do not take account of the religious spirit that inspired them", said Pope Benedict. "When faith, especially as celebrated in the liturgy, encounters art, a profound harmony is created because both wish to speak of God, to make the Invisible visible". He also indicated that during his forthcoming meeting with artists, scheduled for 21 November, he will renew his "proposal of friendship between Christian spirituality and art, as expressed by my predecessors, especially ... Paul VI and John Paul II".
"The force of the Romanesque and the splendour of Gothic cathedrals remind us that the 'via pulchritudinis', the way of beauty, is a privileged and fascinating way to approach the Mystery of God", said the Holy Father.
"May the Lord help us", he concluded, "to rediscover this way of beauty as one of the paths, perhaps the most attractive and captivating, to encounter and to love God".
Art presupposes religion, or, rather, art presupposes the God whom religion worships. As St Thomas puts it, 'just as a work of art presupposes the work of nature, so the work of nature presupposes God.' [5] The matter with which the artist works—the stone beneath his chisel, the paint on his palette—comes from nature. His artistry depends upon its order. 'Things made by art are preserved in being by virtue of natural things, as a house is supported by the solidity of its stones.' [6]
Now there is no nature without an Author of Nature, the personal and transcendent source of its being and its order. It follows, therefore, that, for St Thomas and Fra Angelico, art is a particular kind of cooperation with the Creator. The artist makes his beautiful things by following the Maker's instructions. The horseman is a true artist when he knows and acts in harmony with what God has made the horse to be. Michelangelo draws out the God-given potentialities of marble. Again to quote St Thomas: 'Things done by art and reason must be conformed to those things that are according to nature, which have been instituted by divine reason.' [7] Art in the Middle Ages is always secundum naturam. There is no aesthetic of perversity or disorder.
Man can be an artist because he is created in the image of the God who is the Artist of the world. This is the specifically Christian reinterpretation that St Thomas gives to the Aristotelian principle that 'art imitates nature.' [8] The artist cannot ignore nature, for it is the first and most marvellous poem, icon, and symphony, a measured, radiant whole, showing forth its Maker.
The source of works of art is the human intellect, which is derived from the divine intellect, and the divine intellect is the source of all natural things. Hence not only must artistic operations imitate nature, but also works of art must imitate things that exist in nature. Thus when a master artist produces a work of art, the pupil artist is well advised to pay attention to the master's work of art, so that he can work in similar fashion. That is why the human intellect, which depends on the divine intellect for its intelligible light, must be informed concerning the things it makes by observation of things that are naturally produced, so that it may work in like manner. [9]
Art not only presupposes religion, it also bears witness to it, or, rather, it somehow bears witness to the God whom religion worships. Human art is evidence of the spirituality of the intellectual soul, and hence a pointer to the Immaterial God who created the soul in His image. In man's heart there is a restless longing for truth and beauty, for order and harmony, that the satisfaction of the sense appetites cannot quench. In his joy in beauty, whether in nature or art, man receives confirmation of the spiritual dignity of his intellect. The enjoyment of beauty is always a meeting of minds. As Jacques Maritain says:
The intelligence delights in the beautiful because in the beautiful it finds itself again and recognizes itself, and makes contact with its own light. This is so true that those—such as Saint Francis of Assisi—perceive and savour more the beauty of things who know that things come forth from an intelligence, and who relate them to their author. [10]
If man's art points to God, God's art, the beauty of the natural world, proclaims Him. According to St Thomas and St Bonaventure, following St Augustine, all things carry the trace (vestigium) of their Triune Creator and thus of His beauty. [11] (Rational creatures, of course, are made to His image.) The loveliness of heaven and earth tells the glory of God. The stars of the sky, the mountains and hills, the green things upon the earth are truly beautiful, and yet, being changeable, they cannot be the artisans of their own loveliness. 'They cry aloud', says St Augustine, 'that they did not make themselves.' [12] They are beautiful because God is beautiful, though they are not beautiful as He is beautiful; compared with Him, they are not beautiful. [13] Their beauty is their voice. We can hear and question it:
Question the beauty of the earth, question the beauty of the sea, question the beauty of the air distending and diffusing itself, question the beauty of the sky . . . . Question all these things. All respond: 'See, we are beautiful.' Their beauty is a confession. These beauties are subject to change. Who made them if not the Beautiful One who is not subject to change? [14]
According to St Bonaventure, this truth of the dogma of creation was the foundation of St Francis's love of all creatures.
In beautiful things he saw Supreme Beauty Himself and through His traces (vestigia) imprinted on creation 'he followed His Beloved' cf. Job 23:11) everywhere, making from all things a ladder by which he could climb up and embrace Him who is 'utterly desirable' (cf. Song 5:16). [15]
.
For St Thomas, religion is the virtue that renders due honour to God, One and Triune, the God of infinite beauty. [16] If a man does not exercise that virtue, at least to the extent of recognizing the order of God's creation, he is incapable of art. An atheistic art is a self-contradiction. Human making has no meaning if there is no divine Maker to give man meaning. If there is no God, there is no truth, beauty, or goodness; nature has no order or harmony, and art has no foundation. There can be no culture without cult, without worship, the first act of the virtue of religion. As Balthasar says:
All great art is religious, an act of homage before the glory of what exists. Where the religious dimension disappears, the homage degenerates into something that is merely attractive and pleasing; where the glorious disappears, we are left with what is usually called the 'beautiful'. [17]
Not every artist has been religious in the sense of being a believer who formally worships the one true God, but all great art has been religious in the sense that it manifests the wonder of being, the beauty of things as they reflect the brilliance of the divine Wisdom that made them. Balthasar says of the very first works of literary art in the West, the Iliad and Odyssey: 'In no other poetry of world literature does the thought of God occur so often... the thought of His power, His presence, His working in everything, through external events, through inner inspiration and the endowing with strength.' [18] The denial of God destroys art's foundations. As George Steiner wrote some years ago in his book Real Presences:
What I affirm is the intuition that where God's presence is no longer a tenable supposition, and where His absence is no longer a felt, indeed overbearing weight, certain dimensions of thought and creativity are no longer attainable. [19]
To create, according to St Thomas, is to give being, to make something out of nothing. Therefore, creation is the proper act of God alone, of Him Who Is, whose very essence is to be. [20] The artist cannot, therefore, in the strict sense be creative. [21] He does not produce things out of nothing but reshapes what already exists. The nearest any man comes to creating is in procreation, but here, too, the secondary causality of the creature is entirely dependent on the primary causality of the Creator. Parents are parents of the whole person of their child, and yet they prepare only the matter, which is united to a spiritual soul created immediately out of nothing by God. Their role is precisely pro-creation, cooperation with the Creator in the transmission of human life. Parents do not, strictly speaking, 'create' their children; they receive them from God as His gift and the fruit of their love. That is one of the reasons why the Catholic Church condemns all techniques of in vitro fertilization as gravely sinful: they divorce life from love and make the child appear like a product rather than a person. [22]
Some art is directly ordered to the glorification of God and the sanctification of man. [23] If this ordering to religion is what the Schoolmen call the finis operis the purpose of the work of art itself, then the art is sacred art, liturgical art: for example, the paintings of Andrei Rublev and Fra Angehco, the Masses of Byrd and Palestrina, and the hymns of St John Damascene and St Thomas Aquinas. This kind of art has been defined very beautifully by the Catechism of the Catholic Church:
Sacred art is true and beautiful when its form corresponds to its particular vocation: evoking and glorifying, in faith and adoration, the transcendent mystery of God—the surpassing invisible beauty of truth and love visible in Christ, who 'reflects the glory of God and bears the very stamp of his nature' (cf. Heb 1:3), in whom 'the whole fullness of deity dwells bodily' (cf. Col 2:9). This spiritual beauty of God is reflected in the most holy Virgin Mother of God, the angels, and saints. Genuine sacred art draws man to adoration, to prayer, and to the love of God, Creator and Savior, the Holy One and Sanctifier. [24]
In other cases, the ordering of the art to the glory of God is the end of the artist, the finis operantis. In other words, his motive is to glorify God, even though the work of art itself is not destined for the beautification of church and liturgy. This is religious art, art shaped and pervaded by faith and prayer. Examples here would be the painting of Rouault, the music of Messiaen, and the poetry of St John of the Cross, George Herbert, and Gerard Manley Hopkins.
The great French Catholic poet and dramatist Paul Claudel argued that great art, even when it is not explicitly religious, can achieve good spiritual effects in others, if not in the artist himself. He gives as an example the poetry of Rimbaud. Its haunting beauty, its sense of eternity and the transcendent mystery of human life, helped to liberate Claudel from the positivistic scepticism of his youth—the sickening servile worship of science to be found in Ernest Renan.
I shall always remember that morning in June 1886 when I bought the little copy of Vogue containing the first part of Illuminations. It really was an illumination for me. At last I came out of that hideous world of Taine, of Renan and the other Molochs of the nineteenth century, that penal colony, that appalling machine governed by laws that were completely inflexible and, horror of horrors, knowable and teachable .... I had the revelation of the supernatural. [25]
Positivism, materialism, atheism—these are the deadly enemies of art, for they blind a man to the wealth and wonder of being It was from all such rude reductions of reality that William Blake asked to be delivered when he prayed, 'May God us keep/ From single vision and Newton's sleep.' [26] For a Comte or a Marx, for a Renan or a Taine the world is a machine, a closed system. But the great artists, even when they lack explicit faith, reveal the marvel of what is, in all its transcendental richness. The lovely Muse of Poetry may not always be a Christian, but, as Gertrud von Le Fort suggested, 'in her deepest impulses, unconsciously yet irresistibly, [she is) ordered towards what is Christian and is flooded with a gentle Advent-like light.' [27]
.
ENDNOTES:
[5] Summa contra Gentiles 3, 65.
[6] Ibid.
[7] ST 2a2ae 50, 4.
[8] Sententia super Physicam, lib. 2, lect. 4, no. 6.
[9] Sententia libri Politicorum, lib. 1, lect. 1.
[10] Maritain, Art and Scholasticism, 25.
[11] See chap. 1, PP. 52ff.
[12] Confessiones II, 4, 6; CCSL 27, 197.
[13] Ibid.
[14] Sermo 241, 2 PL 38, 1134.
[15] Legenda Sancti Francisci, cap. 9, no. I; Sancti Bonaventurae opera omnia, vol. 8 (Quaracchi, 1898), 530.
[16] Cf. ST 2a2ae 8,, 2 and 5. On the Trinitarian dimension, the worship of the Three Persons in God, see 2a2ae 81, 3, ad I; 84, 1, ad 3; 3a 25, I, ad I.
[17] H 3/I/I, 14; GL 4, 12f.
[18] Ibid., 48; GL 4, 49.
[19] George Steiner, Real Presences (London, 1990), 229. Chateaubriand likewise argues that 'unbelief is the principal cause of the decadence of taste and genius' (Génie du christianisme, in Oeuvres complètes, vol. 16 [Paris, 1836], 4).
[20] Cf. ST 1a 45, 5.
[21] Fr Bertrand de Margerie, S.J., writes: 'The worker can only act by means of a body, a mind, a freedom that he did not give himself but that conic from the one and only Creator; and his work does not give being, but only a new configuration to the real .... A salutary and exciting humiliation: it is precisely by this dependent and conditioned work that my finite and contingent being can collaborate with the one and only, absolute Creator in the fulfilment of the universe and so be saved eternally' (Les perfections du Dieu de Jésus Christ [Paris, 1981], 183f.).
[22] See CCC 2373ff.; Congregation for the Doctrine of the Faith, Donum vitae (February 22, 1987), passim.
[23] Cf. Sacrosanctum concilium, no. 112, on sacred music.
[24] CCC 2502.
[25] Jacques Rivière and Paul Claudel, Correspondance 1907-1914 (Paris, 1926), 142f. Newman said something similar about the influence of Sir Walter Scott's literary art on the Oxford Movement: he helped to 'prepare men for some closer and more practical approximation to Catholic truth' ('Prospects of the Anglican Church', in Essays and Sketches, vol. 1, new ed. [New York, 1948], 337).
[26] Letter to Thomas Butts (November 22, 1802); Selected Poetry and Prose of William Blake (New York, 1953), 420.
[27] Gertrud von Le Fort, 'Vom Wesen christlicher Dichtung', in Aufzeich-nungen und Erinnerungen (Zurich, 1958), 47.
.
Related IgnatiusInsight.com Articles:
• Modern Art: Friend or Foe? | Joseph Pearce
• Evangelizing With Love, Beauty and Reason | An Interview with Joseph Pearce
• The Measure of Literary Giants | An Interview with Joseph Pearce
• Why Are There So Many Ugly Churches? | An interview with Moyra Doorly, author of No Place For God
• A Great Building Disaster | Excerpt from No Place For God | Moyra Doorly
• Designed Beauty and Evolutionary Theory | Thomas Dubay, S.M.
• The Quintessential--And Last--Modern Poet | Fr. George William Rutler
• A Summary of Christian Doctrine | Paul Claudel
.
Fr. John Saward (b. 1947) is a fellow of Greyfriars and associate lecturer of Blackfriars at the University of Oxford. He previously held the posts of Professor of Dogmatic Theology in the International Theological Institute, Gaming, Austria and Visiting Professor in Systematic Theology and Christology in the same Institute. Ordained as an Anglican clergyman in 1972, he and his family were received into the Catholic Church in 1979 at Campion Hall, Oxford. He is the author of several books, including The Way of the Lamb: The Spirit of Childhood and the End of the Age, Cradle of Redeeming Love: The Theology of the Christmas Mystery, Redeemer in the Womb, and The Beauty of Holiness and the Holiness of Beauty: Art, Sanctity, and the Truth of Catholicism. He has also translated several works, including Hans Urs von Balthasar's Scandal of the Incarnation: Irenaeus Against the Heresies. Fr. Saward also contributed an essay to John Paul the Great: Maker of the Post-Conciliar Church.
Hassapikos - Mens Dance
Hassapikos - Mens Dance: "Words in English
The road is dark
until I meet you.
Meet me in the road
that I may give you my hand.
Make your bed for two,
for you and for me,
that we may embrace each other from the start
and all will be brought back to life.
I embraced you, you embraced me.
You took from me and I took from you.
I lost myself in your eyes and in your fate.
Words in Native Tongue
O dromos ine skotinos
ospu na síandamoso.
Kseprovale me sto strati
to khyeri na su dhoso.
Chorus:
Strose to stroma su ya dhyo
ya sena ke ya meoa
/níanbgalyastume apítin arkhi
na ëní ola anastimeoa./
Síangalyasa míangalyses.
Mu pires ke su pira.
Khathika mes sta matya su
ke sti dhiki su mira."
The road is dark
until I meet you.
Meet me in the road
that I may give you my hand.
Make your bed for two,
for you and for me,
that we may embrace each other from the start
and all will be brought back to life.
I embraced you, you embraced me.
You took from me and I took from you.
I lost myself in your eyes and in your fate.
Words in Native Tongue
O dromos ine skotinos
ospu na síandamoso.
Kseprovale me sto strati
to khyeri na su dhoso.
Chorus:
Strose to stroma su ya dhyo
ya sena ke ya meoa
/níanbgalyastume apítin arkhi
na ëní ola anastimeoa./
Síangalyasa míangalyses.
Mu pires ke su pira.
Khathika mes sta matya su
ke sti dhiki su mira."
Sacred Song,Sacred Dance
Arts & Culture
Music: Sacred song, sacred dance
By Sarah Linn, SanLuisObispo.com, Oct 29, 2009
The Tibetan Buddhist monks of the Drepung Loseling Monastery will showcase their traditional arts at the Cohan Center
Five decades after fleeing their homeland, one group is dedicated to keeping Tibetan culture alive. The Buddhist monks of Drepung Loseling Monastery bring their touring show, “Mystical Arts of Tibet,” to the Performing Arts Center in San Luis Obispo next week.
The Buddhist monks of Drepung Loseling Monastery keep Tibetan culture alive through sacred music and dance.
.
“We believe that the very life force of our nation is its culture and its ritual traditions,” said Tsepak Rigzin, assistant program director at Drepung Loseling Monastery Inc.
.
“When we bring this to the outside, not only are we able to offer better awareness and understanding of Tibet, its people and its culture,” he said. “It also offers an opportunity to continue preserving it.”
.
Established in 1416, the Drepung Loseling Monastery was once one of the largest monastic universities in Tibet. At its height, the Buddhist monastery in the hills north of Lhasa, the Tibetan capital, housed about 10,000 monks.
When political persecution forced Tibet’s spiritual leader, the Dalai Lama, to flee in 1959, about 250 monks from the monastery escaped with him, Rigzin said. They found refuge in the small town of Mundgod in southern India.
Today, about 3,000 monks call the rebuilt Drepung Loseling
According to Rigzin, the monastery’s purpose in North America is clear: to educate Western students, scholars and the general public about Tibetan Buddhist traditions, and to help preserve Tibetan culture.
Monks have been touring under the auspices of “Mystical Arts of Tibet” since the late 1980s, he said.
Their Nov. 5 concert, “Sacred Music, Sacred Dance,” features the ancient art of polyphonic throat singing and chanting. Monks use their mouths and throats to produce multiple pitches simultaneously, creating a sound that is haunting, holy and deeply primal.
“It has its own ambience and carries its own special blessings and energy,” Rigkin said.
In Tibetan religious practice, he said, chanting and singing is seen as a form of meditation. Practitioners may be offering devotions, seeking enlightenment or reflecting on the teachings of great saints and masters.
Carefully choreographed dances accompany the music, offering healing for the environment and the community.
“In this music and in this dancing, we’re able to see a reflection of Buddhist principles,” Rigzin said.
Over the years, the Drepung Loseling monks have appeared on the soundtrack of “Seven Years in Tibet” and performed Phillip Glass’ Academy Award-nominated score for “Kundun” in concert.
They’ve also shared the stage with the likes of Paul Simon, Sheryl Crow and the Beastie Boys, performed at the 1996 Atlanta Olympics and appeared at a Fourth of July celebration in Washington, D.C.
“It’s considered a special privilege to be chosen for that group,” said Rigzin, adding that joining the Mystical Arts of Tibet tour requires extensive training and spiritual study.
Each touring group features about 10 performers
who range in age from their 20s to their early 40s. Because performances tend to be physically taxing, Rigzin said, they require strong, energetic participants.
In addition to musical ability, the Drepung Loseling monks must also possess artistic skills.
During their four-day residency, the monks will create a sacred Tibetan sand mandala at McPhee University Union. The ritual seeks to re-consecrate the Earth and its inhabitants.
After an opening ceremony held at noon Tuesday, the monks will draw an outline on a wooden platform. They’ll then fill in geometric shapes and sacred symbols by pouring colored sands through metal funnels, like water.
“It is an ancient art that belongs to the old world of humanity,” Rigzin explained.
The monks will also host a community sand-painting project, providing sand, tools and instruction.
The sand paintings will be destroyed on Nov. 6 as part of a closing ceremony symbolizing the impermanence of life.
Positive experience
Although audience members tend to approach Tibetan art and culture on different levels, Rigzin said, most people find “Mystical Arts of Tibet” a positive experience.
“They always say it’s very inspirational and very touching in a special sense,” he said. “It’s very good … for them to know more about Tibet and to see and experience monks in person.”
For the Drepung Loseling monks, he added, practicing sacred rituals in a secular setting is a way of reaching out to the world.
“(Tibetan culture) can inspire. It can connect others with healing energy,” Rigzin said.
Music: Sacred song, sacred dance
By Sarah Linn, SanLuisObispo.com, Oct 29, 2009
The Tibetan Buddhist monks of the Drepung Loseling Monastery will showcase their traditional arts at the Cohan Center
Five decades after fleeing their homeland, one group is dedicated to keeping Tibetan culture alive. The Buddhist monks of Drepung Loseling Monastery bring their touring show, “Mystical Arts of Tibet,” to the Performing Arts Center in San Luis Obispo next week.
The Buddhist monks of Drepung Loseling Monastery keep Tibetan culture alive through sacred music and dance.
.
“We believe that the very life force of our nation is its culture and its ritual traditions,” said Tsepak Rigzin, assistant program director at Drepung Loseling Monastery Inc.
.
“When we bring this to the outside, not only are we able to offer better awareness and understanding of Tibet, its people and its culture,” he said. “It also offers an opportunity to continue preserving it.”
.
Established in 1416, the Drepung Loseling Monastery was once one of the largest monastic universities in Tibet. At its height, the Buddhist monastery in the hills north of Lhasa, the Tibetan capital, housed about 10,000 monks.
When political persecution forced Tibet’s spiritual leader, the Dalai Lama, to flee in 1959, about 250 monks from the monastery escaped with him, Rigzin said. They found refuge in the small town of Mundgod in southern India.
Today, about 3,000 monks call the rebuilt Drepung Loseling
According to Rigzin, the monastery’s purpose in North America is clear: to educate Western students, scholars and the general public about Tibetan Buddhist traditions, and to help preserve Tibetan culture.
Monks have been touring under the auspices of “Mystical Arts of Tibet” since the late 1980s, he said.
Their Nov. 5 concert, “Sacred Music, Sacred Dance,” features the ancient art of polyphonic throat singing and chanting. Monks use their mouths and throats to produce multiple pitches simultaneously, creating a sound that is haunting, holy and deeply primal.
“It has its own ambience and carries its own special blessings and energy,” Rigkin said.
In Tibetan religious practice, he said, chanting and singing is seen as a form of meditation. Practitioners may be offering devotions, seeking enlightenment or reflecting on the teachings of great saints and masters.
Carefully choreographed dances accompany the music, offering healing for the environment and the community.
“In this music and in this dancing, we’re able to see a reflection of Buddhist principles,” Rigzin said.
Over the years, the Drepung Loseling monks have appeared on the soundtrack of “Seven Years in Tibet” and performed Phillip Glass’ Academy Award-nominated score for “Kundun” in concert.
They’ve also shared the stage with the likes of Paul Simon, Sheryl Crow and the Beastie Boys, performed at the 1996 Atlanta Olympics and appeared at a Fourth of July celebration in Washington, D.C.
“It’s considered a special privilege to be chosen for that group,” said Rigzin, adding that joining the Mystical Arts of Tibet tour requires extensive training and spiritual study.
Each touring group features about 10 performers
who range in age from their 20s to their early 40s. Because performances tend to be physically taxing, Rigzin said, they require strong, energetic participants.
In addition to musical ability, the Drepung Loseling monks must also possess artistic skills.
During their four-day residency, the monks will create a sacred Tibetan sand mandala at McPhee University Union. The ritual seeks to re-consecrate the Earth and its inhabitants.
After an opening ceremony held at noon Tuesday, the monks will draw an outline on a wooden platform. They’ll then fill in geometric shapes and sacred symbols by pouring colored sands through metal funnels, like water.
“It is an ancient art that belongs to the old world of humanity,” Rigzin explained.
The monks will also host a community sand-painting project, providing sand, tools and instruction.
The sand paintings will be destroyed on Nov. 6 as part of a closing ceremony symbolizing the impermanence of life.
Positive experience
Although audience members tend to approach Tibetan art and culture on different levels, Rigzin said, most people find “Mystical Arts of Tibet” a positive experience.
“They always say it’s very inspirational and very touching in a special sense,” he said. “It’s very good … for them to know more about Tibet and to see and experience monks in person.”
For the Drepung Loseling monks, he added, practicing sacred rituals in a secular setting is a way of reaching out to the world.
“(Tibetan culture) can inspire. It can connect others with healing energy,” Rigzin said.
Francois Vase
.
The François Vase, a milestone in the development of Greek pottery, is a large volute krater decorated in the black-figure style which stands at 66cm in height. Dated at circa 570/560 B.C.E. it was found in 1844 in an Etruscan tomb in the necropolis of Fonte Rotella near Chiusi and named after its discoverer Alessandro François; it is now in the Museo Archeologico at Florence. It bears the inscriptions "Ergotimos mepoiesen" and "Kleitias megraphsen", meaning "Ergotimos made me" and "Kleitias painted me", respectively - early evidence that the roles of potter and painter had become separate at this date. It depicts over 200 figures, many with identifying inscriptions, representing a number of mythological themes. It is a topic of scholary debate whether an overarching programme was intended. In 1900 a museum guard threw a stool at the case that contained the vase and smashed it into 638 pieces. It had been restored by 1902 by Pietro Zei, and a second reconstruction took place in 1973 incorporating previously missing pieces.
Contents :
1 The pictures on the pot
2 Notes
3 References
4 External links
//
The uppermost frieze, on the neck of the krater, depicts on side A[1] the Calydonian Boar Hunt, including the heroes Meleager, Peleus, and Atalanta. The scene is flanked by two sphinxes which are separated from it by a band of lotus blossoms and palmettes. On the other side of the vessel, this zone features the dance of Athenian youths led by Theseus who is playing the lyre, standing opposite Ariadne and her nurse.
The second band on side A shows the chariot race which is part of the funeral games for Patroclus, instituted by his friend[2] Achilles, in the last year of the Trojan War. Here, Achilles is standing in front of a bronze tripod, which would have been one of the prizes, while the participants include the Greek heroes Diomedes and Odysseus. On side B, the painted scene depicts a battle of the Lapiths and Centaurs. The most famous of these conflicts took place at the wedding party of Pirithous and Hippodamia, which is probably depicted here, as the hero Theseus is found among the combatants, a friend of Pirithous who himself was not a Lapith, but said to be among the wedding guests. The scene also includes the demise of the Lapith hero Caeneus.
The third frieze on both sides, the highest and also most prominent one because of its location on the top of the body vessel, depicts the procession of the gods to the wedding of Peleus and Thetis. Because of its large number of figures, the procession is a suitable topic to decorate the long band. The end of the procession shows Peleus between an altar and the house where Thetis can be seen sitting inside. He is greeting his teacher, the centaur Chiron, who is heading the procession together with the divine messenger Iris, followed by many other deities.
The fourth frieze on side A depicts Achilles’ ambush on Troilus outside the gates of Troy, side B shows the return of Hephaestus to Olympus. Hephaestus, sitting on a mule, is led to the Olympian gods by Dionysus, followed by a group of silens and nymphs.
The fifth frieze shows sphinxes and griffins flanking lotus blossom and palmettes ornaments and panthers and lions attacking bulls, a boar, and a deer.
On the foot of the vessel, there is on both sides a depiction of the battle between the Pygmies and the cranes.
The handles are decorated as well, showing on their outer sides the so-called Mistress of Animals above a vignette showing Ajax carrying the dead Achilles. The fields on the inner sides of the handles above the rim of the pot each feature a Gorgon in motion.
Notes :
^ So-called because it depicts the culmination of the procession shown on the vessel’s main frieze, the top band on the body, which is also the highest of all.
^ For the exact nature of the relationship between Achilles and Patroclus, see the article on Achilles and Patroclus.
.
References
Antonio Minto: Il Vaso François, Florence 1960
Mauro Cristofani et al.: Materiali per servire alla storia del Vaso François (Bollettino d'arte, Serie speciale 1), Rome 1981
John D. Beazley: The Development of Attic Black-Figure, 2nd rev. ed., Berkeley 1986, 24-34
Thomas H. Carpenter: Art and Myth in Ancient Greece: A Handbook, London 1991
.
External links
Wikimedia Commons has media related to: François vase
Museo Archeologico Nazionale di Firenze
The François Vase, a milestone in the development of Greek pottery, is a large volute krater decorated in the black-figure style which stands at 66cm in height. Dated at circa 570/560 B.C.E. it was found in 1844 in an Etruscan tomb in the necropolis of Fonte Rotella near Chiusi and named after its discoverer Alessandro François; it is now in the Museo Archeologico at Florence. It bears the inscriptions "Ergotimos mepoiesen" and "Kleitias megraphsen", meaning "Ergotimos made me" and "Kleitias painted me", respectively - early evidence that the roles of potter and painter had become separate at this date. It depicts over 200 figures, many with identifying inscriptions, representing a number of mythological themes. It is a topic of scholary debate whether an overarching programme was intended. In 1900 a museum guard threw a stool at the case that contained the vase and smashed it into 638 pieces. It had been restored by 1902 by Pietro Zei, and a second reconstruction took place in 1973 incorporating previously missing pieces.
Contents :
1 The pictures on the pot
2 Notes
3 References
4 External links
//
The uppermost frieze, on the neck of the krater, depicts on side A[1] the Calydonian Boar Hunt, including the heroes Meleager, Peleus, and Atalanta. The scene is flanked by two sphinxes which are separated from it by a band of lotus blossoms and palmettes. On the other side of the vessel, this zone features the dance of Athenian youths led by Theseus who is playing the lyre, standing opposite Ariadne and her nurse.
The second band on side A shows the chariot race which is part of the funeral games for Patroclus, instituted by his friend[2] Achilles, in the last year of the Trojan War. Here, Achilles is standing in front of a bronze tripod, which would have been one of the prizes, while the participants include the Greek heroes Diomedes and Odysseus. On side B, the painted scene depicts a battle of the Lapiths and Centaurs. The most famous of these conflicts took place at the wedding party of Pirithous and Hippodamia, which is probably depicted here, as the hero Theseus is found among the combatants, a friend of Pirithous who himself was not a Lapith, but said to be among the wedding guests. The scene also includes the demise of the Lapith hero Caeneus.
The third frieze on both sides, the highest and also most prominent one because of its location on the top of the body vessel, depicts the procession of the gods to the wedding of Peleus and Thetis. Because of its large number of figures, the procession is a suitable topic to decorate the long band. The end of the procession shows Peleus between an altar and the house where Thetis can be seen sitting inside. He is greeting his teacher, the centaur Chiron, who is heading the procession together with the divine messenger Iris, followed by many other deities.
The fourth frieze on side A depicts Achilles’ ambush on Troilus outside the gates of Troy, side B shows the return of Hephaestus to Olympus. Hephaestus, sitting on a mule, is led to the Olympian gods by Dionysus, followed by a group of silens and nymphs.
The fifth frieze shows sphinxes and griffins flanking lotus blossom and palmettes ornaments and panthers and lions attacking bulls, a boar, and a deer.
On the foot of the vessel, there is on both sides a depiction of the battle between the Pygmies and the cranes.
The handles are decorated as well, showing on their outer sides the so-called Mistress of Animals above a vignette showing Ajax carrying the dead Achilles. The fields on the inner sides of the handles above the rim of the pot each feature a Gorgon in motion.
Notes :
^ So-called because it depicts the culmination of the procession shown on the vessel’s main frieze, the top band on the body, which is also the highest of all.
^ For the exact nature of the relationship between Achilles and Patroclus, see the article on Achilles and Patroclus.
.
References
Antonio Minto: Il Vaso François, Florence 1960
Mauro Cristofani et al.: Materiali per servire alla storia del Vaso François (Bollettino d'arte, Serie speciale 1), Rome 1981
John D. Beazley: The Development of Attic Black-Figure, 2nd rev. ed., Berkeley 1986, 24-34
Thomas H. Carpenter: Art and Myth in Ancient Greece: A Handbook, London 1991
.
External links
Wikimedia Commons has media related to: François vase
Museo Archeologico Nazionale di Firenze
Ferdinand Freiligrath - Πολιτική Ποίηση
1810-1876
Ένας από τους σημαντικότερους εκπρόσωπους της πολιτικής ποίησης του 19ου αιώνα.
..
Έργα του :
ΠΟΙΗΜΑΤΑ,1838,στα πλαίσια του ρομαντισμού,
ΟΜΟΛΟΓΙΑ ΠΙΣΤΕΩΣ,1844,συλλογή πολιτικών ποιημάτων,
CA IRA,1846,οι σοσιαλιστικές και αντιμοναρχικές του ιδέες ακόμα πιο εμφανείς,
ΝΕΟΤΕΡΑ ΠΟΛΙΤΙΚΑ ΚΑΙ ΚΟΙΝΩΝΙΚΑ ΠΟΙΗΜΑΤΑ,1849 και 1851,
ΟΙ ΝΕΚΡΟΙ ΠΡΟΣ ΤΟΥΣ ΖΩΝΤΕΣ,1848,ήταν η αιτία της φυλάκισης του.
..
Συνεργάστηκε με τον Μαρξ στην έκδοση της ΝΕΑΣ ΕΦΗΜΕΡΙΔΑΣ ΤΟΥ ΡΗΝΟΥ.
..
Το μεταφραστικό του έργο είναι επίσης αξιόλογο.
Μετέφρασε Γουίλιαμ Γουέρντζγουερθ,Χένρυ Γουότζγουερθ Λονγκφέλοου,Γουόλτ Χουίτμαν,Ρόμπερτ Μπέρνς,Βίκτωρα Ουγκώ και Μολιέρο.
Οι παραπάνω μεταφράσεις του εξοικείωσαν το γερμανικό κοινό με αυτούς τους μεγάλους δραματουργούς.
..
Ferdinand Freiligrath - Wikipedia, the free encyclopedia
..
http://www.archive.org/search.php?query=subject%3A%22Freiligrath%2C%20Ferdinand%2C%201810-1876%22 :
Verzeichniss der von Ferdinand Freiligrath nachgelassenen Bibliothek, besonders reichhaltig in der deutschen und englischen classischen Literatur, welche am Dienstag den 18. Juni 1878 und an den folgenden Tagen ... durch Oskar Gerschel's Antiquariats-Buchhandlung (Stuttgart, Schloss-Strasse 37) zu Cannstatt in der Wohnung des Dichters ... versteigert wird = Catalogue of the library of the late Ferdinand Freiligrath, which will be sold by auction on Tuesday 18th June next, and the days following ... at the residence of the late poet through Oskar Gerschel, bookseller .. - Oskar Gerschel (Firm)Keywords: Freiligrath, Ferdinand, 1810-1876; German literature -- Bibliography Catalogs; English literatureDownloads: 346
"Con amore"; or, Critical chapters - McCarthy, Justin, 1830-1912Voltaire's romances, and their moral.--Goethe's poems and ballads.--Friedrich Schiller.--Pierre Jean de Béranger.--The poems of Freiligrath.--The Bohemia of Henri Mürger.--Victor Hugo.--Conversation and talk.--Novels with a purposeKeywords: Voltaire, 1694-1778; Goethe, Johann Wolfgang von, 1749-1832; Schiller, Friedrich, 1759-1805; Béranger, Pierre Jean de, 1780-1857; Freiligrath, Ferdinand, 1810-1876; Murger, Henri, 1822-1861; Hugo, Victor, 1802-1885; Fiction; ConversationDownloads: 177
..
http://books.google.gr/books?id=IKc4Zzr41vwC&pg=PA120&lpg=PA120&dq=freiligrath+ferdinand&source=bl&ots=6HlAVYzSYy&sig=MWg4_z6K7UxW6tHlTlY7hlxpPjc&hl=el&ei=k9neSqGzDcaH4gbh4pEa&sa=X&oi=book_result&ct=result&resnum=5&ved=0CBsQ6AEwBDgK#v=onepage&q=freiligrath%20ferdinand&f=false
Ένας από τους σημαντικότερους εκπρόσωπους της πολιτικής ποίησης του 19ου αιώνα.
..
Έργα του :
ΠΟΙΗΜΑΤΑ,1838,στα πλαίσια του ρομαντισμού,
ΟΜΟΛΟΓΙΑ ΠΙΣΤΕΩΣ,1844,συλλογή πολιτικών ποιημάτων,
CA IRA,1846,οι σοσιαλιστικές και αντιμοναρχικές του ιδέες ακόμα πιο εμφανείς,
ΝΕΟΤΕΡΑ ΠΟΛΙΤΙΚΑ ΚΑΙ ΚΟΙΝΩΝΙΚΑ ΠΟΙΗΜΑΤΑ,1849 και 1851,
ΟΙ ΝΕΚΡΟΙ ΠΡΟΣ ΤΟΥΣ ΖΩΝΤΕΣ,1848,ήταν η αιτία της φυλάκισης του.
..
Συνεργάστηκε με τον Μαρξ στην έκδοση της ΝΕΑΣ ΕΦΗΜΕΡΙΔΑΣ ΤΟΥ ΡΗΝΟΥ.
..
Το μεταφραστικό του έργο είναι επίσης αξιόλογο.
Μετέφρασε Γουίλιαμ Γουέρντζγουερθ,Χένρυ Γουότζγουερθ Λονγκφέλοου,Γουόλτ Χουίτμαν,Ρόμπερτ Μπέρνς,Βίκτωρα Ουγκώ και Μολιέρο.
Οι παραπάνω μεταφράσεις του εξοικείωσαν το γερμανικό κοινό με αυτούς τους μεγάλους δραματουργούς.
..
Ferdinand Freiligrath - Wikipedia, the free encyclopedia
..
http://www.archive.org/search.php?query=subject%3A%22Freiligrath%2C%20Ferdinand%2C%201810-1876%22 :
Verzeichniss der von Ferdinand Freiligrath nachgelassenen Bibliothek, besonders reichhaltig in der deutschen und englischen classischen Literatur, welche am Dienstag den 18. Juni 1878 und an den folgenden Tagen ... durch Oskar Gerschel's Antiquariats-Buchhandlung (Stuttgart, Schloss-Strasse 37) zu Cannstatt in der Wohnung des Dichters ... versteigert wird = Catalogue of the library of the late Ferdinand Freiligrath, which will be sold by auction on Tuesday 18th June next, and the days following ... at the residence of the late poet through Oskar Gerschel, bookseller .. - Oskar Gerschel (Firm)Keywords: Freiligrath, Ferdinand, 1810-1876; German literature -- Bibliography Catalogs; English literatureDownloads: 346
"Con amore"; or, Critical chapters - McCarthy, Justin, 1830-1912Voltaire's romances, and their moral.--Goethe's poems and ballads.--Friedrich Schiller.--Pierre Jean de Béranger.--The poems of Freiligrath.--The Bohemia of Henri Mürger.--Victor Hugo.--Conversation and talk.--Novels with a purposeKeywords: Voltaire, 1694-1778; Goethe, Johann Wolfgang von, 1749-1832; Schiller, Friedrich, 1759-1805; Béranger, Pierre Jean de, 1780-1857; Freiligrath, Ferdinand, 1810-1876; Murger, Henri, 1822-1861; Hugo, Victor, 1802-1885; Fiction; ConversationDownloads: 177
..
http://books.google.gr/books?id=IKc4Zzr41vwC&pg=PA120&lpg=PA120&dq=freiligrath+ferdinand&source=bl&ots=6HlAVYzSYy&sig=MWg4_z6K7UxW6tHlTlY7hlxpPjc&hl=el&ei=k9neSqGzDcaH4gbh4pEa&sa=X&oi=book_result&ct=result&resnum=5&ved=0CBsQ6AEwBDgK#v=onepage&q=freiligrath%20ferdinand&f=false
Theatre des Arts,Theatre de l' Oeuvre,Fort Paul,1872-1960
Από τα νεανικά του χρόνια ενδιαφέρθηκε για τον ΣΥΜΒΟΛΙΣΜΟ τον οποίο προσπάθησε να καταστήσει προσιτό στο ευρύ κοινό.
..
Αντιδρώντας στη ρεαλιστική,νατουραλιστική αντίληψη του θεάτρου ίδρυσε το ''ΘΕΑΤΡΟ ΤΩΝ ΤΕΧΝΩΝ'',1890-93,από το οποίο προήλθε το ''ΘΕΑΤΡΟ ΤΟΥ ΕΡΓΟΥ'',του Λυνέ Πο.
http://www.britannica.com/EBchecked/topic/350960/Aurelien-Lugne-Poe
..
Έγραψε ορισμένα θεατρικά έργα,η φήμη του όμως οφείλεται στο ποιητικό του έργο,γνωστό με τον τίτλο ΓΑΛΛΙΚΕΣ ΜΠΑΛΑΝΤΕΣ,1897 και 1922-31.
Τα ποιήματα αυτά,σε ρυθμική πρόζα,γοητεύουν το κοινό με τη χαρούμενη ποικιλία των ρυθμών και με την αμεσότητα και την απλότητα τους,στοιχεία που δημιουργούν την αίσθηση του οικείου και θυμίζουν τα παλιά λαϊκά ή τα παιδικά τραγούδια.
..
Paul Fort (1 February 1872 - 20 April 1960) was a French poet.
French literature
By category
French literary history
Medieval16th century · 17th century18th century · 19th century20th century · Contemporary
French writers
Chronological listWriters by categoryNovelists · PlaywrightsPoets · EssayistsShort story writers
France portal
Literature portal
This box: view • talk • edit
[edit] Biography
Born on in Reims, Marne département, France, he became an important part of the artistic community of Montparnasse. While a student at the Lycée Louis-le-Grand in Paris, he founded the Théâtre d' Art in 1890. Many new artists were promoted there, including Paul Verlaine, Paul Gauguin, and Maurice Maeterlinck.[1] By 1912 his accomplishments and influence were such that Verlaine gave him the title "Prince of the Poets." Paul Fort was the founder of "Vers et Prose" with the collaboration of Guillaume Apollinaire.
One of his famous works was "La Ronde". This poem is famous world wide because it is a plea for world friendship (Lilac, A).
He is mentioned by Ernest Hemingway as a customer of Closerie des Lilas, in A Moveable Feast, The RestoredEdition,Scribners, 2009/
He died on 20 April 1960 in France and is buried in the Cimetière de Montlhéry, in Montlhéry, Essonne département, in the Île-de-France, Region of France.
[edit] External links
Poems by Paul Fort
[edit] References
^ Maurice Maeterlinck, Bettina Knapp, (Twayne Publishers: Boston), 40.
..
http://www.britannica.com/EBchecked/topic/214059/Paul-Fort/214059rellinks/Related-Links
..
http://www.britannica.com/EBchecked/topic/425539/Theatre-de-lOeuvre
..
..
Αντιδρώντας στη ρεαλιστική,νατουραλιστική αντίληψη του θεάτρου ίδρυσε το ''ΘΕΑΤΡΟ ΤΩΝ ΤΕΧΝΩΝ'',1890-93,από το οποίο προήλθε το ''ΘΕΑΤΡΟ ΤΟΥ ΕΡΓΟΥ'',του Λυνέ Πο.
http://www.britannica.com/EBchecked/topic/350960/Aurelien-Lugne-Poe
..
Έγραψε ορισμένα θεατρικά έργα,η φήμη του όμως οφείλεται στο ποιητικό του έργο,γνωστό με τον τίτλο ΓΑΛΛΙΚΕΣ ΜΠΑΛΑΝΤΕΣ,1897 και 1922-31.
Τα ποιήματα αυτά,σε ρυθμική πρόζα,γοητεύουν το κοινό με τη χαρούμενη ποικιλία των ρυθμών και με την αμεσότητα και την απλότητα τους,στοιχεία που δημιουργούν την αίσθηση του οικείου και θυμίζουν τα παλιά λαϊκά ή τα παιδικά τραγούδια.
..
Paul Fort (1 February 1872 - 20 April 1960) was a French poet.
French literature
By category
French literary history
Medieval16th century · 17th century18th century · 19th century20th century · Contemporary
French writers
Chronological listWriters by categoryNovelists · PlaywrightsPoets · EssayistsShort story writers
France portal
Literature portal
This box: view • talk • edit
[edit] Biography
Born on in Reims, Marne département, France, he became an important part of the artistic community of Montparnasse. While a student at the Lycée Louis-le-Grand in Paris, he founded the Théâtre d' Art in 1890. Many new artists were promoted there, including Paul Verlaine, Paul Gauguin, and Maurice Maeterlinck.[1] By 1912 his accomplishments and influence were such that Verlaine gave him the title "Prince of the Poets." Paul Fort was the founder of "Vers et Prose" with the collaboration of Guillaume Apollinaire.
One of his famous works was "La Ronde". This poem is famous world wide because it is a plea for world friendship (Lilac, A).
He is mentioned by Ernest Hemingway as a customer of Closerie des Lilas, in A Moveable Feast, The RestoredEdition,Scribners, 2009/
He died on 20 April 1960 in France and is buried in the Cimetière de Montlhéry, in Montlhéry, Essonne département, in the Île-de-France, Region of France.
[edit] External links
Poems by Paul Fort
[edit] References
^ Maurice Maeterlinck, Bettina Knapp, (Twayne Publishers: Boston), 40.
..
http://www.britannica.com/EBchecked/topic/214059/Paul-Fort/214059rellinks/Related-Links
..
http://www.britannica.com/EBchecked/topic/425539/Theatre-de-lOeuvre
..
Τα καλλιτεχνικά κινήματα της Σχολής του Φονταινεμπλώ,Ευρωπαϊκός Μανιερισμός
Είναι δύο κινήματα του 16ου αιώνα τα οποία αναπτύχθηκαν κατά την διάρκεια των εργασιών διακόσμησης του ομώνυμου ανακτόρου κατά παραγγελία των τοπικών βασιλέων και χάρη στις οποίες το κέντρο αυτό αναδείχθηκε σ'ένα από τα πιο ακμαία του ΕΥΡΩΠΑϊΚΟΥ ΜΑΝΙΕΡΙΣΜΟΥ.------------------------
Με την ΠΡΩΤΗ ΣΧΟΛΗ,1531,πραγματοποιήθηκε το ολοκληρωτικό άνοιγμα της Γαλλίας στην ιταλική τέχνη.
Ο Ρόσσο,που κλήθηκε από τον Φραγκίσκο Α',1530,υπήρξε ο πρωτεργάτης και η ψυχή του κινήματος μέχρι τον θάνατο του το 1540,εισάγοντας τις μανιεριστικές μορφές και τα θέματα σ'ένα ρυθμό διακοσμητικό,ρυθμικό και βίαιο.
Οι συνεργάτες του,και μετέπειτα διαδόχοι του επί Ερρίκου Β' και Ερρίκου Γ',ήταν ο Πριματίτσο,που είχε αναλάβει τη θέση του επόπτη των Καλών Τεχνών,
ο Άμπατε και ο γιός του Τζούλιο Καμίλο,
o D.del Barbiere,
o L.Thiry,
o G.Dumonstier,
o L.Penni,
o Ruggiero de Ruggieri.
.
Οι καλλιτέχνες αυτοί καθόρισαν με τις τοιχογραφίες και τις γύψινες διακοσμέσεις τους ένα νέο πλαίσιο στην αυλική ζωή.
Στο πνεύμα της αναγέννησης,σχεδίασαν έναν τύπο μνημειακού διακόσμου ηδονιστικού,πνευματικού και εκλεπτυσμένου,προσφεύγοντας στη μυθολογική διήγηση,δίνοντας προνομιακή θέση στη μορφή της ΑΡΤΕΜΙΔΟΣ.
.
Με το κίνημα αυτό θα μπορούσαν να συνδεθούν τα έργα των
F.Clouet,
Caron,
J.Goujon,τ
ων δύο J.Cousin,
του ή των καλλιτεχνών που συνενώνονται κάτω απ'το όνομα του ''ΖΩΓΡΑΦΟΥ ΤΗΣ ΦΛΟΡΑΣ''.
Η τεχνοτροπία και τα έργα της σχολής αυτής διαδόθηκαν ευρύτατα από μια πλειάδα χαρακτών :
Boyvin,
Delaune,
Fantuzzi,
των καλλιτεχνών,των γνωστών με τα μονογράμματα I.-V.,
Leon Davent,-L.D.-,
Jean Mignon,
Pierre Milan,
J.Androuet du Cerceau.
.
First School of Fontainebleau (from 1531)
Rosso Fiorentino (Giovanni Battista di Jacopo de' Rossi) (1494–1540) (Italian)
Francesco Primaticcio (c.1505-1570) (Italian)
Niccolò dell'Abbate (c.1509-1571) (Italian)
Juste de Juste (c.1505-1559) Franco-Italian sculptor and etcher .
Rosso Fiorentino (Giovanni Battista di Jacopo de' Rossi) (1494–1540) (Italian)
Francesco Primaticcio (c.1505-1570) (Italian)
Niccolò dell'Abbate (c.1509-1571) (Italian)
Juste de Juste (c.1505-1559) Franco-Italian sculptor and etcher .
.
The works of this "first school of Fontainebleau" are characterized by the extensive use of stucco (moldings and picture frames) and frescos, and an elaborate (and often mysterious) system of allegories and mythological iconography. Renaissance decorative motifs such as grotesques, strapwork and putti are common, as well as a certain degree of eroticism. The figures are elegant and show the influence of the techniques of the Italian Mannerism of Michelangelo, Raphael and especially Parmigianino. Primaticcio was also directed to make copies of antique Roman statues for the king, thus spreading the influence of classical statuary. Many of the works of Rosso, Primaticcio and dell'Abate have not survived; parts of the Chateau were remodelled at various dates. The paintings of the group were reproduced in prints , mostly etchings, which were apparently produced initially at Fontainebleau itself, and later in Paris. These disseminated the style through France and beyond, and also record several paintings that have not survived.
The mannerist style of the Fontainebleau school influenced French artists (with whom the Italians worked) such as the painter Jean Cousin the Elder, the sculptors Jean Goujon and Germain Pilon, and, to a lesser degree, the painter and portraitist François Clouet the son of Jean Clouet
----------------------------------------------------The mannerist style of the Fontainebleau school influenced French artists (with whom the Italians worked) such as the painter Jean Cousin the Elder, the sculptors Jean Goujon and Germain Pilon, and, to a lesser degree, the painter and portraitist François Clouet the son of Jean Clouet
Πέρασμα και τόπος καλλιτεχνικών ανταλλαγών μεταξύ της Φλάνδρας και της Ιταλίας,το Φονταινεμπλώ,αναδείχθηκε επί Ερρίκου Δ',σε εστία μιας ΔΕΥΤΕΡΗΣ ΣΧΟΛΗΣ,1594,διαποτισμένης από τα γαλλο-φλαμανδικά στοιχεία.
.
Λιγότερο εκλεπτυσμένη από την πρώτη,
με μία τεχνοτροπία,ενίοτε αδρή και υπερβολική,
η σχολή αυτή μαρτυρεί εξίσου τη διατήρηση ενός ΜΑΝΙΕΡΙΣΤΙΚΟΥ ρεύματος ζωηρού ακόμη στις αρχές του 17ου αιώνα.
.
Οι κυριότεροι καλλιτέχνες της δεύτερης αυτής σχολής ήταν
o T.Dubreuil,
o A.Dubois,
o M.Freminet,
στους οποίους προστέθηκε και ο γλύπτης M.Jacquet.
..
Second School of Fontainebleau (from 1594)
Ambroise Dubois (c.1542-1614) (Flemish born)
Toussaint Dubreuil (c.1561-1602)
Martin Fréminet (1567–1619)
.
From 1584 to 1594, during the Wars of Religion the château of Fontainebleau was abandoned. Upon his ascension to the throne, Henri IV undertook a renovation of the Fontainebleau buildings using a group of artists: the Flemish born Ambroise Dubois (from Antwerp) and the Parisians Toussaint Dubreuil and Martin Fréminet. They are sometimes referred to as the "second school of Fontainebleau". Their late mannerist works, many of which have been lost, continue in the use of elongated and undulating forms and crowded compositions. Many of their subjects include mythological scenes and scenes from works of fiction by the Italian Torquato Tasso and the ancient Greek novelist Heliodorus of Emesa.
Their style would continue to have an influence on artists through the first decades of the 17th century, but other artistic currents (Peter Paul Rubens, Caravaggio, the Dutch and Flemish naturalist schools) would soon eclipse them.
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http://en.wikipedia.org/wiki/School_of_Fontainebleau
Soirée Farandoles,Χοροί ρυθμού 6/8,Αλυσιδωτοί Χοροί
(Η εικόνα ανήκει στον : http://media.photobucket.com/image/farandole%20dance/thidarat2006/Nov06/rousscentennial.jpg )
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Φαραντόλα : ζωηρός,δημοφιλής,αλυσιδωτός χορός της Προβηγκίας και της Καταλωνίας.
Αναφέρεται ήδη από τον 14ο αιώνα και σύμφωνα με την παράδοση τον μετέφεραν στη Μασσαλία από την Ελλάδα,φοίνικες ναυτικοί.
Χορεύεται σε γιορτές από άνδρες και γυναίκες που σχηματίζοντας αλυσίδα περιφέρονται στους δρόμους με οφιοειδή κίνηση,με την συνοδεία αυλών και ταμπούρων.
Η μουσική είναι σε 6/8.
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Η Φαραντόλα ανήκει σε μία ομάδα μεσογειακών,βαλκανικών και μεσανατολικών αλυσιδωτών χορών που περιλαμβάνουν τον ρουμανικό ''χόρα'' και τον ελληνικό ''συρτό'',και συγγενεύει με τη μεσαιωνική ''καρόλ'':
http://en.wikipedia.org/wiki/Medieval_dance
http://www.youtube.com/watch?v=S3opAexGmnQ&feature=PlayList&p=9A4D0B73ADDA3485&playnext=1&playnext_from=PL&index=1
http://www.youtube.com/watch?v=zNLoti4sjlI&feature=PlayList&p=81E09A469227C142&playnext=1&playnext_from=PL&index=13
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Ο χαρακτηριστικός χορός της Γαλλικής Επανάστασης,η καρμανιόλ,ήταν μία παραλλαγή της φαραντόλας.
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http://en.wikipedia.org/wiki/Farandole
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http://www.youtube.com/watch?v=T163FszHarY
http://www.youtube.com/watch?v=Q6dAV5kB9CY
YouTube - Soirée Farandoles 20 avril 2007 - Farandole A
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FarandoleThe farandole is an open-chain community dance popular in the County of Nice, France. The farandole bears similarities to the gavotte, jig, and tarantella. The carmagnole of the French Revolution is a derivative.Traditionally led by the abbat-mage holding a beribboned halberd, the dancers hold hands and skip at every beat; strong beats on one foot, alternating left and right, with the other foot in the air, and weak beats with both feet together. In the village of Belvédère, on the occasion of the festival honoring patron Saint Blaise, the most recently-married couple leads the dance.Musically, the dance is in 6/8 time, with a moderate to fast tempo, and played by a flute and drum. Georges Bizet included a farandole in his L'Arlésienne suite.During his time in the 80's metal band "Talas", Billy Sheehan wrote a solo song called "The Farandole". It includes an electric and bass guitar soloing together with drums keeping up the rhythm.In Tchaikovsky Sleeping Beauty's ballet there a farandole in the Second Act in the Fourth Scène, where the dames propose a farandole.Many people use a variety of questionable evidence to argue that the farandole has a history going back to the Middle Ages. While there are descriptions of line and circle dances, and iconography showing people dancing in lines and circles[1], there is no reason to assume that medieval dance was done like the modern folk farandole. Arbeau, the most well-known source for renaissance line and circle dances such as the branle, does not contain any dance with these specific steps and figures.The Majesty Demos, the first recording by the band Dream Theater, contains a song called "The Farandole".
http://www.youtube.com/watch?v=PW0bn2CDjN8
..
http://www.streetswing.com/timpge1.htm
Simple time signatures tell you how many and what kind of notes per measure are to be played. The number on the top represents 'how many' or the number of notes per measure, and the bottom number represents the 'what kind of note' is to be used.
There are the three main or 'simple time signatures' in dance: 2/4 Time: Most Smooth / Polka Dances. (2 Up Beats. -- 2 -- 4 -- 2 -- 4 ... etc.) 3/4 Time: Mainly Waltz but can be others dances. (1 Down and 2 up Beats) 4/4 Time: (aka Common Time) - Rhythm Dances (2 down 2 up beats 1-2-3-4).
2/2 Time: is 'Cut time' (alla breve) popular in marches ... see 4/4. 2/4 is 2 quarter notes (or 2 crotchets) per measure. 3/4 is 3 quarter notes per measure (or 3 crotchets). 4/4 is 4 quarter notes per measure (aka common time, also 'cut time' is 4/4). 5/2 is 5 half notes (or 5 minims) per measure. 6/8 is 6 eighth notes (or 6 quavers) per measure and so on.
The bottom number can be 1, 2, 4, 8, 16, etc. There are many more time signatures in music and these are but a few of the examples given above. We often times do dance to these other signatures as well, but for now we are only looking at the basic three above and one in particular 4/4 time for swing dancing. NOTE: The above represents 'simple time signatures' and we are not going to get into 'compound time signatures' such as 6/8, 9/8 (12/8 = some blues) etc. or 'irregular time signatures' (5/4. 7/4, 11/4 etc) on this page. If you want to know more try Goggling in the upper right corner of this page.
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Ρυθμοί : http://www.bdancer.com/RxRhythm.html
http://www.geocities.com/SoHo/Museum/6962/vsecrets/abcs/dance_rhythm.htm
..
Χοροί : (http://www.serres.gr/index.php?option=com_content&task=view&id=124&Itemid=156)
Ανάλογα με το θέμα τους χωρίζονται σε :
α) θρησκευτικούςβ) πολεμικούς ή πυρρίχιουςγ) ερωτικούς καιδ) πολεμο-ερωτικούς χορούς.
.
Ανάλογα με το σχήμα τους χωρίζονται σε :
α) κυκλικούς και β) αντικριστούς χορούς
Τους κυκλικούς χορούς τους συναντάμε σε ανοικτό κύκλο και σπανιότερα σε κλειστό .
Αντικριστοί χοροί ή "καρσιλαμάδες" λέγονται οι χοροί, όπου οι χορευτές στέκονται σε δύο σειρές απέναντι - αντικριστά.
.
Ανάλογα με το φύλο χωρίζονται σε :
α) ανδρικούς,β) γυναικείους και γ) μικτούς
.
Ανάλογα με το μέτρο ή ρυθμό χωρίζονται
α) σ' αυτούς που έχουν μέτρο 2/8 ή δίσημο ρυθμό
β) με μέτρο 3/8 ή τρίσημο ρυθμό
γ) με μέτρο 4/8 ή τετράσημο ρυθμό (δαχτυλικό γένος)
δ) με μέτρο 5/8 ή πεντάσημο ρυθμό (παιονικό γένος)
ε) με μέτρο 6/8 ή εξάσημο ρυθμό (ιαμβικό γένος)
στ) με μέτρο 7/8 ή επτάσημο ρυθμό (επίτριτο είδος)
ζ) με μέτρο 8/8 ή οχτάσημο ρυθμό και
η) με μέτρο 9/8 ή εννιάσημο ρυθμό.
.
Ανάλογα με τον τόπο, τους χωρίζουμε σε :
α) πανελλήνιους καιβ) τοπικούς
Οι πανελλήνιοι ή εθνικοί χοροί είναι ο συρτός-καλαματιανός και ο τσάμικος ή κλέφτικος
Φαραντόλα : ζωηρός,δημοφιλής,αλυσιδωτός χορός της Προβηγκίας και της Καταλωνίας.
Αναφέρεται ήδη από τον 14ο αιώνα και σύμφωνα με την παράδοση τον μετέφεραν στη Μασσαλία από την Ελλάδα,φοίνικες ναυτικοί.
Χορεύεται σε γιορτές από άνδρες και γυναίκες που σχηματίζοντας αλυσίδα περιφέρονται στους δρόμους με οφιοειδή κίνηση,με την συνοδεία αυλών και ταμπούρων.
Η μουσική είναι σε 6/8.
..
Η Φαραντόλα ανήκει σε μία ομάδα μεσογειακών,βαλκανικών και μεσανατολικών αλυσιδωτών χορών που περιλαμβάνουν τον ρουμανικό ''χόρα'' και τον ελληνικό ''συρτό'',και συγγενεύει με τη μεσαιωνική ''καρόλ'':
http://en.wikipedia.org/wiki/Medieval_dance
http://www.youtube.com/watch?v=S3opAexGmnQ&feature=PlayList&p=9A4D0B73ADDA3485&playnext=1&playnext_from=PL&index=1
http://www.youtube.com/watch?v=zNLoti4sjlI&feature=PlayList&p=81E09A469227C142&playnext=1&playnext_from=PL&index=13
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Ο χαρακτηριστικός χορός της Γαλλικής Επανάστασης,η καρμανιόλ,ήταν μία παραλλαγή της φαραντόλας.
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http://en.wikipedia.org/wiki/Farandole
..
http://www.youtube.com/watch?v=T163FszHarY
http://www.youtube.com/watch?v=Q6dAV5kB9CY
YouTube - Soirée Farandoles 20 avril 2007 - Farandole A
..
FarandoleThe farandole is an open-chain community dance popular in the County of Nice, France. The farandole bears similarities to the gavotte, jig, and tarantella. The carmagnole of the French Revolution is a derivative.Traditionally led by the abbat-mage holding a beribboned halberd, the dancers hold hands and skip at every beat; strong beats on one foot, alternating left and right, with the other foot in the air, and weak beats with both feet together. In the village of Belvédère, on the occasion of the festival honoring patron Saint Blaise, the most recently-married couple leads the dance.Musically, the dance is in 6/8 time, with a moderate to fast tempo, and played by a flute and drum. Georges Bizet included a farandole in his L'Arlésienne suite.During his time in the 80's metal band "Talas", Billy Sheehan wrote a solo song called "The Farandole". It includes an electric and bass guitar soloing together with drums keeping up the rhythm.In Tchaikovsky Sleeping Beauty's ballet there a farandole in the Second Act in the Fourth Scène, where the dames propose a farandole.Many people use a variety of questionable evidence to argue that the farandole has a history going back to the Middle Ages. While there are descriptions of line and circle dances, and iconography showing people dancing in lines and circles[1], there is no reason to assume that medieval dance was done like the modern folk farandole. Arbeau, the most well-known source for renaissance line and circle dances such as the branle, does not contain any dance with these specific steps and figures.The Majesty Demos, the first recording by the band Dream Theater, contains a song called "The Farandole".
http://www.youtube.com/watch?v=PW0bn2CDjN8
..
http://www.streetswing.com/timpge1.htm
Simple time signatures tell you how many and what kind of notes per measure are to be played. The number on the top represents 'how many' or the number of notes per measure, and the bottom number represents the 'what kind of note' is to be used.
There are the three main or 'simple time signatures' in dance: 2/4 Time: Most Smooth / Polka Dances. (2 Up Beats. -- 2 -- 4 -- 2 -- 4 ... etc.) 3/4 Time: Mainly Waltz but can be others dances. (1 Down and 2 up Beats) 4/4 Time: (aka Common Time) - Rhythm Dances (2 down 2 up beats 1-2-3-4).
2/2 Time: is 'Cut time' (alla breve) popular in marches ... see 4/4. 2/4 is 2 quarter notes (or 2 crotchets) per measure. 3/4 is 3 quarter notes per measure (or 3 crotchets). 4/4 is 4 quarter notes per measure (aka common time, also 'cut time' is 4/4). 5/2 is 5 half notes (or 5 minims) per measure. 6/8 is 6 eighth notes (or 6 quavers) per measure and so on.
The bottom number can be 1, 2, 4, 8, 16, etc. There are many more time signatures in music and these are but a few of the examples given above. We often times do dance to these other signatures as well, but for now we are only looking at the basic three above and one in particular 4/4 time for swing dancing. NOTE: The above represents 'simple time signatures' and we are not going to get into 'compound time signatures' such as 6/8, 9/8 (12/8 = some blues) etc. or 'irregular time signatures' (5/4. 7/4, 11/4 etc) on this page. If you want to know more try Goggling in the upper right corner of this page.
..
Ρυθμοί : http://www.bdancer.com/RxRhythm.html
http://www.geocities.com/SoHo/Museum/6962/vsecrets/abcs/dance_rhythm.htm
..
Χοροί : (http://www.serres.gr/index.php?option=com_content&task=view&id=124&Itemid=156)
Ανάλογα με το θέμα τους χωρίζονται σε :
α) θρησκευτικούςβ) πολεμικούς ή πυρρίχιουςγ) ερωτικούς καιδ) πολεμο-ερωτικούς χορούς.
.
Ανάλογα με το σχήμα τους χωρίζονται σε :
α) κυκλικούς και β) αντικριστούς χορούς
Τους κυκλικούς χορούς τους συναντάμε σε ανοικτό κύκλο και σπανιότερα σε κλειστό .
Αντικριστοί χοροί ή "καρσιλαμάδες" λέγονται οι χοροί, όπου οι χορευτές στέκονται σε δύο σειρές απέναντι - αντικριστά.
.
Ανάλογα με το φύλο χωρίζονται σε :
α) ανδρικούς,β) γυναικείους και γ) μικτούς
.
Ανάλογα με το μέτρο ή ρυθμό χωρίζονται
α) σ' αυτούς που έχουν μέτρο 2/8 ή δίσημο ρυθμό
β) με μέτρο 3/8 ή τρίσημο ρυθμό
γ) με μέτρο 4/8 ή τετράσημο ρυθμό (δαχτυλικό γένος)
δ) με μέτρο 5/8 ή πεντάσημο ρυθμό (παιονικό γένος)
ε) με μέτρο 6/8 ή εξάσημο ρυθμό (ιαμβικό γένος)
στ) με μέτρο 7/8 ή επτάσημο ρυθμό (επίτριτο είδος)
ζ) με μέτρο 8/8 ή οχτάσημο ρυθμό και
η) με μέτρο 9/8 ή εννιάσημο ρυθμό.
.
Ανάλογα με τον τόπο, τους χωρίζουμε σε :
α) πανελλήνιους καιβ) τοπικούς
Οι πανελλήνιοι ή εθνικοί χοροί είναι ο συρτός-καλαματιανός και ο τσάμικος ή κλέφτικος
Μυστηριακό θέατρο
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Ο Κύκλος του Τσέστερ αποτελεί συλλογή 25 δραμάτων-μυστηρίων με θρησκευτική υπόθεση,που είχαν παρουσιαστεί σ'αυτήν την πόλη τον 14ο αιώνα.
The most well-known of the Chester plays relates the story of Noah and the Great Flood, traditionally acted by the Drawers of Dee (watercarriers). In it, Noah and his sons load up the provisions and the animals while his wife gossips with the neighbours. Noah urges her to hurry aboard, "The flood comes in fleeting fast; On every side it speadeth full fare; For fear of drowning I am agast; Good gossip, let us draw near". But Noah's wife keeps on drinking and gossipping until, eventually, the sons carry her onto the ark by force. At the end of the play, God provides a rainbow as a token that mankind has had enough punishment for its sinful deeds.
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Πρόκειται για τον πρώτο σωζόμενο κύκλο μυστηρίων της αγγλικής παράδοσης.
Οι άλλοι κύκλοι είναι :
του Γιόρκ (48 έργα): http://en.wikipedia.org/wiki/York_Mystery_Plays
.
του Γουέικφιλντ (32 έργα): http://en.wikipedia.org/wiki/Wakefield_Cycle
The cycle is the work of undoubtedly multiple authors over the course of approximately two centuries. In fact, some plays are shared with nearby York Cycle. However, the most notable plays (including) "The Second Shepherd's Play" were written by an anonymous author dubbed the Wakefield Master, who also wrote "Noah," "The First Shepherds' Play," "Herod the Great," and "The Buffeting," and may have revised "The Killing of Abel."
http://en.wikipedia.org/wiki/The_Second_Shepherds%27_Play
http://www.gutenberg.org/etext/19481
.
και ο κύκλος Ludus Conventual ή κύκλος του Χέγκε (42 έργα),
http://en.wikipedia.org/wiki/N-Town_Plays
The plays of the N-Town cycle vary from simple, almost liturgical, recitations of Biblical texts (as in the Moses play of the Ten Commandments, the Jesse play with its kings and prophets, and the Penetecost play) to highly complex and fast moving short dramas on Biblical themes that have a naturalism and liveliness (as in the Death of Herod and the Woman Taken in Adultery) almost unique in early drama. These plays can all be played from a wagon or a single booth stage. On the other hand, the two Mary Plays and the Passion Play were written for what is often called "place and scaffold" production in the round using "scaffolds" or raised stages and also the "platea" or the "place" between the stages.
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Το έμμετρο κείμενο,αποτελούμενο από περισσότερους από 11.000 στίχους διατηρείται σε 5 χειρόγραφα στη Βιβλιοθήκη Μποντλέιαν της Οξφόρδης,στη Βιβλιοθήκη Χάντινγκτον της Καλιφόρνιας και στο Βρετανικό Μουσείο στο Λονδίνο.
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Πηγή : http://en.wikipedia.org/wiki/Chester_Mystery_Plays :
The Chester Mystery Plays is a cycle of mystery plays dating back to at least the early part of the 15th century.
A record of 1422 shows that the plays took place at the feast of Corpus Christi and this appears to have continued until 1521. Plays on Corpus Christi Day in 1475 included 'The trial and flagellation of Christ' and 'The Crucifixion'. The plays were then expanded into a three day cycle on Whit Monday, Tuesday and Wednesday. In the years between the plays there was the Chester Midsummer Watch Parade instead.
The plays are based on biblical texts, from creation to the Last Judgement. They were enacted by common guildsmen and craftsmen on mounted stages that were moved around the city streets, with each company or guild performing one play.
Prior to the event the Crier read out these banns: "The Aldermen and stewards of evrie societie and Companie draw youselves to your said severall companies according to Ancient Customme and soe to appear with your said severall Companies everie man as you are Called upon paine that shall fall thereon". Such early banns exhorted each company to perform well.
Under Queen Elizabeth I the plays were seen as 'Popery' and banned by the English Church. Despite this a play cycle was performed in 1568 and the cathedral paid for the stage and beer as in 1562. They were performed again, over four days, in 1575. This resulted in the mayor, when he retired from his office, being taken to the Star Chamber in London to answer allegations against him, but with the support of the council (or assembly) he was freed.
The plays have been revived in modern times, and are presented in the city of Chester, England, every five years. The 2008 run of plays officially began on 28 June, and runs nightly until 19 July.
The most well-known of the Chester plays relates the story of Noah and the Great Flood, traditionally acted by the Drawers of Dee (watercarriers). In it, Noah and his sons load up the provisions and the animals while his wife gossips with the neighbours. Noah urges her to hurry aboard, "The flood comes in fleeting fast; On every side it speadeth full fare; For fear of drowning I am agast; Good gossip, let us draw near". But Noah's wife keeps on drinking and gossipping until, eventually, the sons carry her onto the ark by force. At the end of the play, God provides a rainbow as a token that mankind has had enough punishment for its sinful deeds.
In the 20th century, the Noah's Flood play was set operatically by both Benjamin Britten (Noye's Fludde) and Igor Stravinsky (The Flood).
The Mysteries is an adaption by the poet Tony Harrison, principally based upon the Wakefield Cycle, but incorporating scenes from the York, Chester and N-Town canons, first performed in 1977 at the National Theatre, and again revived in 2000 as a celebration of the millennium.
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See also
Medieval theatre
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External links
The Official Chester Mystery Plays Website - the website of the Chester Mystery Cycle with news the performance in June 2008.
Chester Mystery Plays in London - information about how to book tickets for the 2008 November performance of scenes from the Chester Mystery Plays performed by the Players of St Peter in London
Chester Mystery Plays 2003 performance - free downloadable media clips from the Chester Mystery Cycle performance of 2003, featuring full mp3 audio track 'Christ Theme' and video excerpt from the performance.
The original text
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Further reading
Gordon Emery - Curious Chester (2005)
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http://en.wikipedia.org/wiki/Corpus_Christi_(feast)
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http://en.wikipedia.org/wiki/Category:Medieval_drama
..
Ο Κύκλος του Τσέστερ αποτελεί συλλογή 25 δραμάτων-μυστηρίων με θρησκευτική υπόθεση,που είχαν παρουσιαστεί σ'αυτήν την πόλη τον 14ο αιώνα.
The most well-known of the Chester plays relates the story of Noah and the Great Flood, traditionally acted by the Drawers of Dee (watercarriers). In it, Noah and his sons load up the provisions and the animals while his wife gossips with the neighbours. Noah urges her to hurry aboard, "The flood comes in fleeting fast; On every side it speadeth full fare; For fear of drowning I am agast; Good gossip, let us draw near". But Noah's wife keeps on drinking and gossipping until, eventually, the sons carry her onto the ark by force. At the end of the play, God provides a rainbow as a token that mankind has had enough punishment for its sinful deeds.
..
Πρόκειται για τον πρώτο σωζόμενο κύκλο μυστηρίων της αγγλικής παράδοσης.
Οι άλλοι κύκλοι είναι :
του Γιόρκ (48 έργα): http://en.wikipedia.org/wiki/York_Mystery_Plays
.
του Γουέικφιλντ (32 έργα): http://en.wikipedia.org/wiki/Wakefield_Cycle
The cycle is the work of undoubtedly multiple authors over the course of approximately two centuries. In fact, some plays are shared with nearby York Cycle. However, the most notable plays (including) "The Second Shepherd's Play" were written by an anonymous author dubbed the Wakefield Master, who also wrote "Noah," "The First Shepherds' Play," "Herod the Great," and "The Buffeting," and may have revised "The Killing of Abel."
http://en.wikipedia.org/wiki/The_Second_Shepherds%27_Play
http://www.gutenberg.org/etext/19481
.
και ο κύκλος Ludus Conventual ή κύκλος του Χέγκε (42 έργα),
http://en.wikipedia.org/wiki/N-Town_Plays
The plays of the N-Town cycle vary from simple, almost liturgical, recitations of Biblical texts (as in the Moses play of the Ten Commandments, the Jesse play with its kings and prophets, and the Penetecost play) to highly complex and fast moving short dramas on Biblical themes that have a naturalism and liveliness (as in the Death of Herod and the Woman Taken in Adultery) almost unique in early drama. These plays can all be played from a wagon or a single booth stage. On the other hand, the two Mary Plays and the Passion Play were written for what is often called "place and scaffold" production in the round using "scaffolds" or raised stages and also the "platea" or the "place" between the stages.
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Το έμμετρο κείμενο,αποτελούμενο από περισσότερους από 11.000 στίχους διατηρείται σε 5 χειρόγραφα στη Βιβλιοθήκη Μποντλέιαν της Οξφόρδης,στη Βιβλιοθήκη Χάντινγκτον της Καλιφόρνιας και στο Βρετανικό Μουσείο στο Λονδίνο.
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Πηγή : http://en.wikipedia.org/wiki/Chester_Mystery_Plays :
The Chester Mystery Plays is a cycle of mystery plays dating back to at least the early part of the 15th century.
A record of 1422 shows that the plays took place at the feast of Corpus Christi and this appears to have continued until 1521. Plays on Corpus Christi Day in 1475 included 'The trial and flagellation of Christ' and 'The Crucifixion'. The plays were then expanded into a three day cycle on Whit Monday, Tuesday and Wednesday. In the years between the plays there was the Chester Midsummer Watch Parade instead.
The plays are based on biblical texts, from creation to the Last Judgement. They were enacted by common guildsmen and craftsmen on mounted stages that were moved around the city streets, with each company or guild performing one play.
Prior to the event the Crier read out these banns: "The Aldermen and stewards of evrie societie and Companie draw youselves to your said severall companies according to Ancient Customme and soe to appear with your said severall Companies everie man as you are Called upon paine that shall fall thereon". Such early banns exhorted each company to perform well.
Under Queen Elizabeth I the plays were seen as 'Popery' and banned by the English Church. Despite this a play cycle was performed in 1568 and the cathedral paid for the stage and beer as in 1562. They were performed again, over four days, in 1575. This resulted in the mayor, when he retired from his office, being taken to the Star Chamber in London to answer allegations against him, but with the support of the council (or assembly) he was freed.
The plays have been revived in modern times, and are presented in the city of Chester, England, every five years. The 2008 run of plays officially began on 28 June, and runs nightly until 19 July.
The most well-known of the Chester plays relates the story of Noah and the Great Flood, traditionally acted by the Drawers of Dee (watercarriers). In it, Noah and his sons load up the provisions and the animals while his wife gossips with the neighbours. Noah urges her to hurry aboard, "The flood comes in fleeting fast; On every side it speadeth full fare; For fear of drowning I am agast; Good gossip, let us draw near". But Noah's wife keeps on drinking and gossipping until, eventually, the sons carry her onto the ark by force. At the end of the play, God provides a rainbow as a token that mankind has had enough punishment for its sinful deeds.
In the 20th century, the Noah's Flood play was set operatically by both Benjamin Britten (Noye's Fludde) and Igor Stravinsky (The Flood).
The Mysteries is an adaption by the poet Tony Harrison, principally based upon the Wakefield Cycle, but incorporating scenes from the York, Chester and N-Town canons, first performed in 1977 at the National Theatre, and again revived in 2000 as a celebration of the millennium.
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See also
Medieval theatre
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External links
The Official Chester Mystery Plays Website - the website of the Chester Mystery Cycle with news the performance in June 2008.
Chester Mystery Plays in London - information about how to book tickets for the 2008 November performance of scenes from the Chester Mystery Plays performed by the Players of St Peter in London
Chester Mystery Plays 2003 performance - free downloadable media clips from the Chester Mystery Cycle performance of 2003, featuring full mp3 audio track 'Christ Theme' and video excerpt from the performance.
The original text
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Further reading
Gordon Emery - Curious Chester (2005)
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http://en.wikipedia.org/wiki/Corpus_Christi_(feast)
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http://en.wikipedia.org/wiki/Category:Medieval_drama
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Chikamatsu Monzaemon Μεγάλοι Ιάπωνες Δραματουργοί
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Παρωνύμιο του Sugimori Nobumori.
Κυότο 1653 - Οσάκα 1724/5.
Ένας από τους μεγαλύτερους Ιάπωνες δραματουργούς.
Έγραψε για το θέατρο μαριονέτας (μπουνράκου) πάνω από 100 έργα ιστορικά (Οι μάχες του πειρατή Κόξιγκα) ή οικογενειακές τραγωδίες,πολλές από τις οποίες βασίζονταν σε πραγματικά γεγονότα (Διπλή αυτοκτονία από έρωτα στο Σονεζάκι).
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http://en.wikipedia.org/wiki/Chikamatsu_Monzaemon
Major works :
Α.Jōruri
The Soga Successors or "The Soga Heir" (Yotsugi Soga) (1683)
Kagekiyo Victorious (Shusse kagekiyo 出世景清) (1685)
The Love Suicides at Sonezaki (Sonezaki no shinjū 曾根崎心中) (1703)
The Night Song of Yosaku from Tamba (Tamba Yosaku machiyo no komurobushi 丹波与作待夜のこむろぶし)
The Courier for Hell (Meido no hikyaku 冥途の飛脚) (1711)
The Battles of Coxinga (Kokusen'ya kassen 国性爺合戦) (1715)
The Uprooted Pine (Nebiki no Kadomatsu) (1718)
The Love Suicides at Amijima (Shinjūten no Amijima 心中天網島) (1720)
The Woman-Killer and the Hell of Oil (Onnagoroshi abura no jigoku 女殺油地獄) (1721)
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Β.Kabuki
The Courtesan on Buddha Plain[1] (Keisei hotoke no hara けいせい仏の原) (1699)
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Γ.Critical work
Naniwa miyage (1738; written by a friend & preserves a number of statements by Chikamatsu on the art of the puppet theater)
...
Quotes
"Art is something that lies in the slender margin between the real and the unreal." -Naniwa miyage[1]
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http://www.hull.ac.uk/music/News_Events/Drama/Chikamatsu_Project.html
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http://www.washburn.edu/reference/bridge24/Chickamatsu.html
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Source : http://www.imagi-nation.com/moonstruck/clsc62.html
Born in Echizen, Japan in 1653 with the name of "Sugimore Nobumori", Chikamatsu Monzaemon was to become perhaps the greatest dramatist in the history of the Japanese theatre. Born into a Samurai family, Chikamatsu's father went ronin, abandoning his feudal duties sometime between 1664 and 1670, and moving his family to Kyoto where they became attached to the local court aristocracy. This is most likely where Chikamatsu first became involved with the theatre.
Chikamatsu is said to have written over one hundred plays, most of which were written for the bunraku or puppet theatre. Legend has it that he wrote one of his plays in a single night. His works combine comedy and tragedy, poetry and prose, and present scenes of combat, torture, and suicide on stage.
Most of Chikamatsu's domestic tragedies are based an actual events. His Sonezaki shinju or The Love Suicides at Sonezaki, for example, was based on reports of an actual double suicide. In this play, an apprentice clerk and his lover, a prostitute in the pleasure quarters, finding no other way to be together, decide to commit a double suicide so that they can at least be united in death.
Chikamatsu's most famous play, the Kikusenya Kassen or Battles of the Kikusenya, tells the story of a Tarter king's invasion of China after his demand for the Ming emperor's favorite concubine as the price of friendship is denied. A traitorous Chinese minister gives the signal for the invasion by stabbing out his own eye with a dagger, but a Chinese general, Go Sankei, miraculously defeats the huge Tarter army with a handful of soldiers. Unfortunately, the emperor's enemies have cut off his head during the battle and captured his concubine. Go Sankei rescues the concubine who is pregnant with the emperor's child, but when she is later hit by a bullet, he is forced to perform a Caesarean section in full view of the audience to save the imperial heir. He then sacrifices his own child in front of the Tarters in order to convince them that emperor's son is dead.
In 1705, Chikamatsu moved to Osaka where he became a writer for Takemoto Gidayu's puppet theatre. He remained in Osaka until his death in 1725. Although he is generally considered the Shakespeare of Japanese theatre, Chikamatsu's work is rarely performed, mainly because of the declining popularity of bunraku. Fortunately, several of his plays have been adapted for use in Kabuki theatre and on film.
Find more articles on Chikamatsu Monzaemon
Chikamatsu's Plays Biographies/Studies
..
Παρωνύμιο του Sugimori Nobumori.
Κυότο 1653 - Οσάκα 1724/5.
Ένας από τους μεγαλύτερους Ιάπωνες δραματουργούς.
Έγραψε για το θέατρο μαριονέτας (μπουνράκου) πάνω από 100 έργα ιστορικά (Οι μάχες του πειρατή Κόξιγκα) ή οικογενειακές τραγωδίες,πολλές από τις οποίες βασίζονταν σε πραγματικά γεγονότα (Διπλή αυτοκτονία από έρωτα στο Σονεζάκι).
..
http://en.wikipedia.org/wiki/Chikamatsu_Monzaemon
Major works :
Α.Jōruri
The Soga Successors or "The Soga Heir" (Yotsugi Soga) (1683)
Kagekiyo Victorious (Shusse kagekiyo 出世景清) (1685)
The Love Suicides at Sonezaki (Sonezaki no shinjū 曾根崎心中) (1703)
The Night Song of Yosaku from Tamba (Tamba Yosaku machiyo no komurobushi 丹波与作待夜のこむろぶし)
The Courier for Hell (Meido no hikyaku 冥途の飛脚) (1711)
The Battles of Coxinga (Kokusen'ya kassen 国性爺合戦) (1715)
The Uprooted Pine (Nebiki no Kadomatsu) (1718)
The Love Suicides at Amijima (Shinjūten no Amijima 心中天網島) (1720)
The Woman-Killer and the Hell of Oil (Onnagoroshi abura no jigoku 女殺油地獄) (1721)
..
Β.Kabuki
The Courtesan on Buddha Plain[1] (Keisei hotoke no hara けいせい仏の原) (1699)
..
Γ.Critical work
Naniwa miyage (1738; written by a friend & preserves a number of statements by Chikamatsu on the art of the puppet theater)
...
Quotes
"Art is something that lies in the slender margin between the real and the unreal." -Naniwa miyage[1]
..
http://www.hull.ac.uk/music/News_Events/Drama/Chikamatsu_Project.html
..
http://www.washburn.edu/reference/bridge24/Chickamatsu.html
..
Source : http://www.imagi-nation.com/moonstruck/clsc62.html
Born in Echizen, Japan in 1653 with the name of "Sugimore Nobumori", Chikamatsu Monzaemon was to become perhaps the greatest dramatist in the history of the Japanese theatre. Born into a Samurai family, Chikamatsu's father went ronin, abandoning his feudal duties sometime between 1664 and 1670, and moving his family to Kyoto where they became attached to the local court aristocracy. This is most likely where Chikamatsu first became involved with the theatre.
Chikamatsu is said to have written over one hundred plays, most of which were written for the bunraku or puppet theatre. Legend has it that he wrote one of his plays in a single night. His works combine comedy and tragedy, poetry and prose, and present scenes of combat, torture, and suicide on stage.
Most of Chikamatsu's domestic tragedies are based an actual events. His Sonezaki shinju or The Love Suicides at Sonezaki, for example, was based on reports of an actual double suicide. In this play, an apprentice clerk and his lover, a prostitute in the pleasure quarters, finding no other way to be together, decide to commit a double suicide so that they can at least be united in death.
Chikamatsu's most famous play, the Kikusenya Kassen or Battles of the Kikusenya, tells the story of a Tarter king's invasion of China after his demand for the Ming emperor's favorite concubine as the price of friendship is denied. A traitorous Chinese minister gives the signal for the invasion by stabbing out his own eye with a dagger, but a Chinese general, Go Sankei, miraculously defeats the huge Tarter army with a handful of soldiers. Unfortunately, the emperor's enemies have cut off his head during the battle and captured his concubine. Go Sankei rescues the concubine who is pregnant with the emperor's child, but when she is later hit by a bullet, he is forced to perform a Caesarean section in full view of the audience to save the imperial heir. He then sacrifices his own child in front of the Tarters in order to convince them that emperor's son is dead.
In 1705, Chikamatsu moved to Osaka where he became a writer for Takemoto Gidayu's puppet theatre. He remained in Osaka until his death in 1725. Although he is generally considered the Shakespeare of Japanese theatre, Chikamatsu's work is rarely performed, mainly because of the declining popularity of bunraku. Fortunately, several of his plays have been adapted for use in Kabuki theatre and on film.
Find more articles on Chikamatsu Monzaemon
Chikamatsu's Plays Biographies/Studies
..
Βραχογραφίες 'LES TROIS FRERES''
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Σπήλαιο στη νότια Γαλλία,το οποίο ανακαλύφθηκε το 1914 και περιλαμβάνει μία σημαντική ομάδα μνημειωδών βραχογραφιών και αναγλύφων της Ανώτερης Παλαιολιθικής -περίπου 40.000-10.000 π.Χ.-,που ανήκουν στην Γαλλο-κανταβρική Σχολή :
http://www.britannica.com/EBchecked/topic/216955/Franco-Cantabrian-art
http://en.wikipedia.org/wiki/Franco-Cantabrian_region
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Η πλειονότητα των παραστάσεων ζώων και μορφών,που είναι κατά το ήμισυ άνθρωποι και κατά το ήμισυ ζώα,βρέθηκε στις παρυφές ενός εσώτατου χώρου που ονομάστηκε ΙΕΡΟ.
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Μοναδική είναι η ζωγραφική απεικόνιση με τα εγχάρακτα περιγράμματα μιας μορφής κατά το ήμισυ άνθρωπος και κατά το ήμισυ ελάφι που πιθανώς απεικονίζει κάποιο 'ΜΕΓΑΛΟ ΠΝΕΥΜΑ',το οποίο δεσπόζει επάνω από μορφές ζώων και χορευτών.
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Πηγή : http://en.wikipedia.org/wiki/Trois_Fr%C3%A8res
http://en.wikipedia.org/wiki/The_Sorcerer_(cave_art)
Η εικόνα του ''ΜΑΓΟΥ'' :
http://media-2.web.britannica.com/eb-media/63/4763-004-824529EB.jpg
http://www.mask-and-more-masks.com/The-Shaman-of-Trois-Freres.html
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The Cave of the Trois-Frères is one of the famous caves in southwestern France famous for its cave paintings. It is located in Montesquieu-Avantès, in the Ariège département.
One of these, called "The Sorcerer" is as familiar as any art in the more famous cave of Lascaux. The cave also contained two finely modelled bison. The cave is part of a single cave-complex with the Tuc d'Audoubert, both galleries formed by the Volp River.
The cave art appears to date to approximately 13,000 BC.
The cave is named for the three sons of comte Bégouen who discovered it in 1910. (In French: trois frères means "three brothers".) The drawings of the cave were made famous in the publications of the Abbé Henri Breuil.
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http://donsmaps.com/cavepaintings3.html
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Σπήλαιο στη νότια Γαλλία,το οποίο ανακαλύφθηκε το 1914 και περιλαμβάνει μία σημαντική ομάδα μνημειωδών βραχογραφιών και αναγλύφων της Ανώτερης Παλαιολιθικής -περίπου 40.000-10.000 π.Χ.-,που ανήκουν στην Γαλλο-κανταβρική Σχολή :
http://www.britannica.com/EBchecked/topic/216955/Franco-Cantabrian-art
http://en.wikipedia.org/wiki/Franco-Cantabrian_region
..
Η πλειονότητα των παραστάσεων ζώων και μορφών,που είναι κατά το ήμισυ άνθρωποι και κατά το ήμισυ ζώα,βρέθηκε στις παρυφές ενός εσώτατου χώρου που ονομάστηκε ΙΕΡΟ.
..
Μοναδική είναι η ζωγραφική απεικόνιση με τα εγχάρακτα περιγράμματα μιας μορφής κατά το ήμισυ άνθρωπος και κατά το ήμισυ ελάφι που πιθανώς απεικονίζει κάποιο 'ΜΕΓΑΛΟ ΠΝΕΥΜΑ',το οποίο δεσπόζει επάνω από μορφές ζώων και χορευτών.
..........................................................
Πηγή : http://en.wikipedia.org/wiki/Trois_Fr%C3%A8res
http://en.wikipedia.org/wiki/The_Sorcerer_(cave_art)
Η εικόνα του ''ΜΑΓΟΥ'' :
http://media-2.web.britannica.com/eb-media/63/4763-004-824529EB.jpg
http://www.mask-and-more-masks.com/The-Shaman-of-Trois-Freres.html
..
The Cave of the Trois-Frères is one of the famous caves in southwestern France famous for its cave paintings. It is located in Montesquieu-Avantès, in the Ariège département.
One of these, called "The Sorcerer" is as familiar as any art in the more famous cave of Lascaux. The cave also contained two finely modelled bison. The cave is part of a single cave-complex with the Tuc d'Audoubert, both galleries formed by the Volp River.
The cave art appears to date to approximately 13,000 BC.
The cave is named for the three sons of comte Bégouen who discovered it in 1910. (In French: trois frères means "three brothers".) The drawings of the cave were made famous in the publications of the Abbé Henri Breuil.
..
http://donsmaps.com/cavepaintings3.html
..
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