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Пишет clement (![[info]](http://lj.rossia.org/img/userinfo.gif){kind=small} clement)@ 2005-12-08 00:27:00 |
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Штейнберг о потрёпывании по подбородку или замечание на полях Содома.
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12
L.Steinberg "Metaphors of Love and Birth in Michelangelo's Pietas" Studies in Erotic Art, New York, 1970. Статья найдена![[info]](http://lj.rossia.org/img/userinfo-lj.gif)
genys@lj, за что ей огромное спасибо. Цитирую статью дословно, добавляя иллюстрации по мере возможного.
The motif of the Child touching the Virgin's chin occurs in the Byzantine Madonna type known as the "Virgin of Sweet Love," or Glykophilousa. As a love gesture expressing a tenderness at once childlike and faintly precocious, it passes into the art of the West. There, from the twelfth to the seventeenth century, and irrespective of its use or disuse in life situations, the "chin-chuck" remains a conventional iconographic sign for sexual love in iconic devotional imagery as well as in secular erotic art.
Historically speaking, the chin-chuck is even more venerable than the slung-leg motif. Its origins whether in passion, ritual, custom, or art seem indeterminable. Homer ( Iliad, I, 501-502, and X, 454-455) uses the chin-touching gesture as one of supplication, and it so functions in Archaic Greek art: a victim will touch his antagonist's chin to plead for his life (e.g., Corfu Pediment, Priam seated at left; Nessos Amphora, Athens, National Museum, both ca. 600 B.C.).
From the early seventh century onward, the Homeric gesture, presumably still the familiar suppliant's touch, adapts itself to purely erotic play. Theseus, chucking her chin, woos Ariadne on a Tarentine clay relief and again on a Cretan vase (Schefold, Frühgriechische Sagenbilder, Munich, 1964, Pl. 27 a and b). Several Attic vase paintings of ca. 540-530 B.C., depicting scenes of "Man Wooing Boy," show the bearded suitor caressing the chin of the eromenos, the beloved.
An Egyptian relief from Medinet Habu shows Ramses III (twelfth century B.C.) welcoming his concubine with a chin-chuck; but whether an Egyptian custom furnished the impetus for the erotic reinterpretation of the Homeric gesture is not yet clear. Nor can we demonstrate an unbroken continuity from ancient monuments to those Byzantine icons where the chin-chuck occurs. Eros caresses the embraced Psyche's chin (e.g., third-century sarcophagus from Tarsus, Metropolitan Museum, New York), and this late Antique adaptation of the motif to the redemptive allegory of divine love may have prepared it for its Christian translation. At the same time, the gesture may actually have survived in flirtatious lovemaking. One thing seems unlikely: that a gesture of ancient sex connotation in the art and love practice of the Eastern Mediterranean should appear entirely stripped of these connotations in Constantinople.
In Byzantine iconic art the Child caressing the Virgin's chin seems to be a thirteenth-century development, and I suspect that its reference is to a refrain in the Song of Songs (2,6 and 8,3): "O that his left hand were under my head, and that his right hand embraced me!" That these words had acquired a specifically sexual connotation emerges from a remarkable exegesis in the 22nd Epistle of St. Jerome ( Select Letters of St. Jerome, trans. F. A. Wright, London, 1933, pp. 93-95). Applying a verse from Daniel (2,45) to the virginal birth of Christ, Jerome interprets as follows: "He is foretold to be 'a stone cut out of the mountain without hands,' the prophet signifying thereby that He will be born a virgin of a virgin. The word 'hands' is to be taken as meaning the marital act, as in the passage: 'His left hand is under my head and his right hand doth embrace me.'"
Now it is these very lines which appear as superscriptions in late Gothic Canticles illustrations that depict Christ and his spouse in the commonest lovers' pose the lady resting against the knees of her lover who places his caressing hand at her chin (see the fifteenth-century Dutch blockbook edition, Schreiber 14, Pl. 7; reproduced in A.M. Hind, History of Woodcut I, Fig. 101). It seems probable that the artist of the Byzantine Glykophilousa similarly assimilated the vague Biblical "under my head" to the more precise and familiar visual formula of the touched chin. A Romanesque figured capital of the early twelfth century (Toulouse, Musée des Augustins; reprod. in W. Oakeshott, Classical Inspiration in Medieval Art, London, 1959, Pl. 24a) displays, in its action, a surprising likeness to the Egyptian Ramses relief. It shows the enthroned King Herod touching Salome's chin exactly as King Ramses had touched that of his concubine.
In the later thirteenth century the chin-chuck becomes commonplace in Western art, especially in Gothic France. For the first time within the same cultural ambience it occurs simultaneously in cult figures and representations of lovers' trysts. Ivory statuettes of the Madonna and Child (the Virgin usually crowned as Queen of Heaven) display the motif as often as do ivory caskets or combs depicting the meeting of lovers. In the Trecento, the motif of the Child touching his Mother's chin is widely adopted by major masters of Florence, Siena, Bohemia, and elsewhere. It remains common in Madonna images both north and south of the Alps throughout the fifteenth century and receives universal currency through the dissemination of prints and plaquettes (Fig. 190).
At the same time the motif retains its full usefulness as a formula for erotic love e.g., among beneficiaries of the Fountain of Youth and even in allegories of Lust. It is notable that, like the slung leg, the chin-chuck from the late fifteenth century onward can be administered by the female partner. In the century following it becomes reciprocal (Fig. 126, group at left). And it becomes generally more adaptable. Giulio Romano uses it in a context of near-pornography. In his Jupiter Visiting Olympia fresco at the Palazzo del Te, the god approaches his bedfellow with tumid member and chin-seeking hand (see Hartt, Giulio Romano, New Haven, 1958, Pl. 263 as well as Pl. 178). The gesture is used by Primaticcio for a Ulysses and Penelope (Toledo Museum), by Garofalo for a Diana and Endymion (Dresden), by Frans Floris for Lot and His Daughters (engraved by C. Cort, B. de Haan Cat. 10, Pl. 4), by Cambiaso for a Venus and Adonis (Rome, Borghese, Fig.191), and in a German woodcut of 1537 for a moralizing representation of a procuress at work ("Die Kupplerin" by Heinrich Vogtherr the Younger, Geisberg, Einblattdrucke..., No. 1469). But Veit Stosz, in one of the most fiercely tragic and moving Pietàs ever engraved (Lehrs, VIII, 260, 3; here Fig. 192), assigns the gesture to the disconsolate Virgin.
In sixteenth-century art, a Madonna whose chin is held or chucked by the Child is unmistakably an object of adult devotion (e.g., Burgkmair's woodcut of 1518, B. VII, 8; Cornelius van Cleve's Detroit Madonna; Luca Cambiaso's Virgin and Child at the Hague; Agostino Carracci's engraving, B. XVIII, 31; and others). But the motif is also adapted to the expression of the Christ Child's love for St. John (Leonardo, Raphael, Fra Bartolommeo, Parmigianino, and others). Parmigianino makes St. Catherine at her mystic wedding chin-chuck the Child (Bologna), while Cambiaso makes the Child chuck the chin of the Magdalene (Genoa, Palazzo Bianco; Fig. 193).
Artists of the seventeenth century still understood the convention and used it accordingly as when Caroselli, in an Allegory formerly in Berlin, makes the Spirit of Painting chuck the chin of Natura; and better still, when the French sculptor Puget, carving an ambitious variant on Michelangelo's Medici Madonna, substitutes as an equivalent marital symbol the chin-chucking for the shoulder-grasping motif (Fig. 194).
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12
L.Steinberg "Metaphors of Love and Birth in Michelangelo's Pietas" Studies in Erotic Art, New York, 1970. Статья найдена
genys@lj, за что ей огромное спасибо. Цитирую статью дословно, добавляя иллюстрации по мере возможного.The motif of the Child touching the Virgin's chin occurs in the Byzantine Madonna type known as the "Virgin of Sweet Love," or Glykophilousa. As a love gesture expressing a tenderness at once childlike and faintly precocious, it passes into the art of the West. There, from the twelfth to the seventeenth century, and irrespective of its use or disuse in life situations, the "chin-chuck" remains a conventional iconographic sign for sexual love in iconic devotional imagery as well as in secular erotic art.
Historically speaking, the chin-chuck is even more venerable than the slung-leg motif. Its origins whether in passion, ritual, custom, or art seem indeterminable. Homer ( Iliad, I, 501-502, and X, 454-455) uses the chin-touching gesture as one of supplication, and it so functions in Archaic Greek art: a victim will touch his antagonist's chin to plead for his life (e.g., Corfu Pediment, Priam seated at left; Nessos Amphora, Athens, National Museum, both ca. 600 B.C.).
Все совокупно; предшествовал Зевс. Не забыла Фетида
Сына молений; рано возникла из пенного моря,
С ранним туманом взошла на великое небо, к Олимпу;
Там, одного восседящего, молний метателя Зевса
Видит на самой вершине горы многоверхой, Олимпа;
Близко пред ним восседает и, быстро обнявши колена
Левой рукою, а правой подбрадия тихо касаясь,
Так говорит, умоляя отца и владыку бессмертных:
Гомер, "Илиада", перевод Н.И.Гнедича. Песнь первая, 495-502.
Амфора Несса.
From the early seventh century onward, the Homeric gesture, presumably still the familiar suppliant's touch, adapts itself to purely erotic play. Theseus, chucking her chin, woos Ariadne on a Tarentine clay relief and again on a Cretan vase (Schefold, Frühgriechische Sagenbilder, Munich, 1964, Pl. 27 a and b). Several Attic vase paintings of ca. 540-530 B.C., depicting scenes of "Man Wooing Boy," show the bearded suitor caressing the chin of the eromenos, the beloved.
Тезей и Ариадна, Крит. Седьмой век до н.э.
Эраст и эромен. Пятый век до н.э. (Мюнхен, Глифтотека).
An Egyptian relief from Medinet Habu shows Ramses III (twelfth century B.C.) welcoming his concubine with a chin-chuck; but whether an Egyptian custom furnished the impetus for the erotic reinterpretation of the Homeric gesture is not yet clear. Nor can we demonstrate an unbroken continuity from ancient monuments to those Byzantine icons where the chin-chuck occurs. Eros caresses the embraced Psyche's chin (e.g., third-century sarcophagus from Tarsus, Metropolitan Museum, New York), and this late Antique adaptation of the motif to the redemptive allegory of divine love may have prepared it for its Christian translation. At the same time, the gesture may actually have survived in flirtatious lovemaking. One thing seems unlikely: that a gesture of ancient sex connotation in the art and love practice of the Eastern Mediterranean should appear entirely stripped of these connotations in Constantinople.
In Byzantine iconic art the Child caressing the Virgin's chin seems to be a thirteenth-century development, and I suspect that its reference is to a refrain in the Song of Songs (2,6 and 8,3): "O that his left hand were under my head, and that his right hand embraced me!" That these words had acquired a specifically sexual connotation emerges from a remarkable exegesis in the 22nd Epistle of St. Jerome ( Select Letters of St. Jerome, trans. F. A. Wright, London, 1933, pp. 93-95). Applying a verse from Daniel (2,45) to the virginal birth of Christ, Jerome interprets as follows: "He is foretold to be 'a stone cut out of the mountain without hands,' the prophet signifying thereby that He will be born a virgin of a virgin. The word 'hands' is to be taken as meaning the marital act, as in the passage: 'His left hand is under my head and his right hand doth embrace me.'"
Now it is these very lines which appear as superscriptions in late Gothic Canticles illustrations that depict Christ and his spouse in the commonest lovers' pose the lady resting against the knees of her lover who places his caressing hand at her chin (see the fifteenth-century Dutch blockbook edition, Schreiber 14, Pl. 7; reproduced in A.M. Hind, History of Woodcut I, Fig. 101). It seems probable that the artist of the Byzantine Glykophilousa similarly assimilated the vague Biblical "under my head" to the more precise and familiar visual formula of the touched chin. A Romanesque figured capital of the early twelfth century (Toulouse, Musée des Augustins; reprod. in W. Oakeshott, Classical Inspiration in Medieval Art, London, 1959, Pl. 24a) displays, in its action, a surprising likeness to the Egyptian Ramses relief. It shows the enthroned King Herod touching Salome's chin exactly as King Ramses had touched that of his concubine.
In the later thirteenth century the chin-chuck becomes commonplace in Western art, especially in Gothic France. For the first time within the same cultural ambience it occurs simultaneously in cult figures and representations of lovers' trysts. Ivory statuettes of the Madonna and Child (the Virgin usually crowned as Queen of Heaven) display the motif as often as do ivory caskets or combs depicting the meeting of lovers. In the Trecento, the motif of the Child touching his Mother's chin is widely adopted by major masters of Florence, Siena, Bohemia, and elsewhere. It remains common in Madonna images both north and south of the Alps throughout the fifteenth century and receives universal currency through the dissemination of prints and plaquettes (Fig. 190).
At the same time the motif retains its full usefulness as a formula for erotic love e.g., among beneficiaries of the Fountain of Youth and even in allegories of Lust. It is notable that, like the slung leg, the chin-chuck from the late fifteenth century onward can be administered by the female partner. In the century following it becomes reciprocal (Fig. 126, group at left). And it becomes generally more adaptable. Giulio Romano uses it in a context of near-pornography. In his Jupiter Visiting Olympia fresco at the Palazzo del Te, the god approaches his bedfellow with tumid member and chin-seeking hand (see Hartt, Giulio Romano, New Haven, 1958, Pl. 263 as well as Pl. 178). The gesture is used by Primaticcio for a Ulysses and Penelope (Toledo Museum), by Garofalo for a Diana and Endymion (Dresden), by Frans Floris for Lot and His Daughters (engraved by C. Cort, B. de Haan Cat. 10, Pl. 4), by Cambiaso for a Venus and Adonis (Rome, Borghese, Fig.191), and in a German woodcut of 1537 for a moralizing representation of a procuress at work ("Die Kupplerin" by Heinrich Vogtherr the Younger, Geisberg, Einblattdrucke..., No. 1469). But Veit Stosz, in one of the most fiercely tragic and moving Pietàs ever engraved (Lehrs, VIII, 260, 3; here Fig. 192), assigns the gesture to the disconsolate Virgin.
Джулио Романо, Палаццо дел Те, "Юпитер и Олимпия", фреска
Приматиччо, "Улисс и Пенелопа". Музей Толедо (Огайо).
Гарофало, "Диана и Эндимион", Мюнхен, Старая пинакотека.
In sixteenth-century art, a Madonna whose chin is held or chucked by the Child is unmistakably an object of adult devotion (e.g., Burgkmair's woodcut of 1518, B. VII, 8; Cornelius van Cleve's Detroit Madonna; Luca Cambiaso's Virgin and Child at the Hague; Agostino Carracci's engraving, B. XVIII, 31; and others). But the motif is also adapted to the expression of the Christ Child's love for St. John (Leonardo, Raphael, Fra Bartolommeo, Parmigianino, and others). Parmigianino makes St. Catherine at her mystic wedding chin-chuck the Child (Bologna), while Cambiaso makes the Child chuck the chin of the Magdalene (Genoa, Palazzo Bianco; Fig. 193).
Корнелис ван Клеве, "Святое семейство", Брюгге.
Пармеджанино, Мадонна с Младенцем и свв. Августином, Иеронимом, Маргаритой и ангелом (Болонья)
Artists of the seventeenth century still understood the convention and used it accordingly as when Caroselli, in an Allegory formerly in Berlin, makes the Spirit of Painting chuck the chin of Natura; and better still, when the French sculptor Puget, carving an ambitious variant on Michelangelo's Medici Madonna, substitutes as an equivalent marital symbol the chin-chucking for the shoulder-grasping motif (Fig. 194).
