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DOI Artikel:Bentkowska-Kafel, Anna: Navigatio Vitae: elements of Emblematic Symbolism in 17th century Dutch seascapes
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18898#0031
Anna Bentkowska
NAVIGATIO VITAE: ELEMENTS OF EMBLEMATIC SYMBOLISM IN
17TH CENTURY DUTCH SEASCAPES*
The interpretation of numerous motifs recognized as emblematic, based on rcferences to
emblematic literaturę, is often fruitful. Frequently, howevcr, despite apparently convincing
arguments, it comcs close to error. Bohuslaus Balbinus assertcd at the end of the 17th century
that there was no limit to emblems: Nulla res est sub sole, ąuae materiam emblemati dare non
possit1. Tbis view, in addition to the fact that emblematic subscriptions were often quotations
from ancient and mediaeval literaturę and from the Bibie, marks out the exceedingly broad
scope of the contents and concepts of emblems and hence permits an almost unlimited number
of symbolic meanings. The wealth and variety of meanings is very tempting when it comes to
the interpretation of a painting. It must be always remembered that the freedom to ascribe
symbolic meanings must be moderated by the painting in ąuestion. That is why I took pains
to maintain my interpretation of 17th century Dutch landscapcs within the framework of motifs
presented and particularly stressed by painters themselves. In addition, I took into aecount
the differentiation of painters' talents and personalities, and I assumed that a greater freedom
to ascribe symblic meanings is acceptable with regard to paintings by Rembrandt and van
Ruisdael than with regard to the so-called minor masters of Dutch painting.
Life is an uncertain voyage. Amidst the storms that toss us,
we often suffer more than sailors in a shipwreck.
Fortune is at the helm. IIaving her for the guide in our lives,
we move — as do those at sea among the vicissitudes of fortunę.
Some are blessed with a happy voyage. Others sail in capthdty,
yet all strive for one port. We all sail towards death.
Palladas of Alexandria, 4th-5tb century2.
Paul Bril's painting Jonas Thrown into the Sea (ca 1620, Lille, Musće des Beaux-Arts, a different
version at the Wawel Castle in Cracow, fig. 1) is deeply rooted in the Mannerist tradition3.
It shows a ship struggling with the elements of the sea; an image of raging forces of naturę
accompanies the on-going scenę of Jonas „setting out for Tarshish to escape from the Lord"4
who is thrown overboard by the sailors because he has brought danger on their ship. The rough
sea and the wind tearing the sails manifest God's wrath, and the rays brightening the darkness,
the steep rocky shore, the fortified tower and the narrow passage that leads to it are references
to the bedrock, that is the Creator (the rock), his mercy (the rays), help and salvation (the for-
* An abridged version of a chapter of my M. A. thesis Elements of Emblematic Symbolism in 17th century Dutch Landscape
Painting, written under Professor Białostocki's guidance. I have retained the original spelling and punctuation in all the
quotations from emblematic texts.
1. Quoted after J. Pelc, Obraz—Slotco—Znak. Studium o emblematach w literaturze staropolskiej, Warszawa—Wrocław—■
Kraków, 1973, p. 36.
2. Palladas of Alexandria, Life Is an Uncertain Sea Voyage" in: Palaline Anlhology. I used the Polish edition edited by
Z.Kubiak Warszawa, 1978.
5. Cf. Le siecle de Rubens dans les colleclions publiques franęaises (exhib. catalogue), Grand Palais, Paris, 1977, p. 46.
4. Jonas, 1:3.
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NAVIGATIO VITAE: ELEMENTS OF EMBLEMATIC SYMBOLISM IN
17TH CENTURY DUTCH SEASCAPES*
The interpretation of numerous motifs recognized as emblematic, based on rcferences to
emblematic literaturę, is often fruitful. Frequently, howevcr, despite apparently convincing
arguments, it comcs close to error. Bohuslaus Balbinus assertcd at the end of the 17th century
that there was no limit to emblems: Nulla res est sub sole, ąuae materiam emblemati dare non
possit1. Tbis view, in addition to the fact that emblematic subscriptions were often quotations
from ancient and mediaeval literaturę and from the Bibie, marks out the exceedingly broad
scope of the contents and concepts of emblems and hence permits an almost unlimited number
of symbolic meanings. The wealth and variety of meanings is very tempting when it comes to
the interpretation of a painting. It must be always remembered that the freedom to ascribe
symbolic meanings must be moderated by the painting in ąuestion. That is why I took pains
to maintain my interpretation of 17th century Dutch landscapcs within the framework of motifs
presented and particularly stressed by painters themselves. In addition, I took into aecount
the differentiation of painters' talents and personalities, and I assumed that a greater freedom
to ascribe symblic meanings is acceptable with regard to paintings by Rembrandt and van
Ruisdael than with regard to the so-called minor masters of Dutch painting.
Life is an uncertain voyage. Amidst the storms that toss us,
we often suffer more than sailors in a shipwreck.
Fortune is at the helm. IIaving her for the guide in our lives,
we move — as do those at sea among the vicissitudes of fortunę.
Some are blessed with a happy voyage. Others sail in capthdty,
yet all strive for one port. We all sail towards death.
Palladas of Alexandria, 4th-5tb century2.
Paul Bril's painting Jonas Thrown into the Sea (ca 1620, Lille, Musće des Beaux-Arts, a different
version at the Wawel Castle in Cracow, fig. 1) is deeply rooted in the Mannerist tradition3.
It shows a ship struggling with the elements of the sea; an image of raging forces of naturę
accompanies the on-going scenę of Jonas „setting out for Tarshish to escape from the Lord"4
who is thrown overboard by the sailors because he has brought danger on their ship. The rough
sea and the wind tearing the sails manifest God's wrath, and the rays brightening the darkness,
the steep rocky shore, the fortified tower and the narrow passage that leads to it are references
to the bedrock, that is the Creator (the rock), his mercy (the rays), help and salvation (the for-
* An abridged version of a chapter of my M. A. thesis Elements of Emblematic Symbolism in 17th century Dutch Landscape
Painting, written under Professor Białostocki's guidance. I have retained the original spelling and punctuation in all the
quotations from emblematic texts.
1. Quoted after J. Pelc, Obraz—Slotco—Znak. Studium o emblematach w literaturze staropolskiej, Warszawa—Wrocław—■
Kraków, 1973, p. 36.
2. Palladas of Alexandria, Life Is an Uncertain Sea Voyage" in: Palaline Anlhology. I used the Polish edition edited by
Z.Kubiak Warszawa, 1978.
5. Cf. Le siecle de Rubens dans les colleclions publiques franęaises (exhib. catalogue), Grand Palais, Paris, 1977, p. 46.
4. Jonas, 1:3.
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