DOI Artikel:
Bielak, Jacek: Przedstawienia Sądu Parysa w nowożytnym bursztynnictwie - konwencjonalny topos czy symbol ukrytej treści
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28102#0070
Jacek Bielak The Judgement of Paris in the Early Modern Amber Object -
Conyentional Topos or Symbol of Hidden Content
The article deals with the interpretation of the „Judgment of Paris” iconography.
The scene is found in many objects of fine art also and happened to occuring in amber
craftsmanship. The Author enumerates the amber art works in which constantly this
iconographical type is constantly represented to look for the possible meaning. At hrst
the considerations focus on the methodological dilemma on how to understand prop-
erly understand the plot of this ancient theme in the early modern period. The opposi-
tion between convenient topos and symbol of the hidden content gives inspiration to
broader explications and hypothetical reasons for the enormous popularity the theme
had enjoyed through the ages. Several literary sources are analyzed to rediscover the
proper sense of the amber applications. The aAauthor traces back the possible content
in the literaturę but according to him the most important solution is given in the alle-
gorical interpretation madę by Fulgentius The Mythographer in his work Mythologiae.
The Symbolic commentary the ancient author gives to the story of Paris stresses that it
represents a triple modę of human life (triae vitae) known already in ancient philoso-
phy: activa, contemplativacontemplativae, and voluptuosa. Since that time until XVIII
the 18th century the „Iudicium Paridis” motif was associated with the Aristotelian divi-
sion. It was adopted by the humanist tradition and became the an attractive theme
among the art collectors. Thus the reflection on the meaning allows to admit that the
scene represented in the art had the some hidden content and as such was understood
by the well-educated rulers and humanists from XVI till XVIII the 16th-18th centuriesy.
The Aamber craftsmen prepared their products for the highly educated public who
were , that was able to read the meaning. However it is not elear whether the concept
of beauty and its choice in the life of Paris might be the proper justification for the
human beings who make many mistakes commit numerous errors in their pursuit of
happiness.
Conyentional Topos or Symbol of Hidden Content
The article deals with the interpretation of the „Judgment of Paris” iconography.
The scene is found in many objects of fine art also and happened to occuring in amber
craftsmanship. The Author enumerates the amber art works in which constantly this
iconographical type is constantly represented to look for the possible meaning. At hrst
the considerations focus on the methodological dilemma on how to understand prop-
erly understand the plot of this ancient theme in the early modern period. The opposi-
tion between convenient topos and symbol of the hidden content gives inspiration to
broader explications and hypothetical reasons for the enormous popularity the theme
had enjoyed through the ages. Several literary sources are analyzed to rediscover the
proper sense of the amber applications. The aAauthor traces back the possible content
in the literaturę but according to him the most important solution is given in the alle-
gorical interpretation madę by Fulgentius The Mythographer in his work Mythologiae.
The Symbolic commentary the ancient author gives to the story of Paris stresses that it
represents a triple modę of human life (triae vitae) known already in ancient philoso-
phy: activa, contemplativacontemplativae, and voluptuosa. Since that time until XVIII
the 18th century the „Iudicium Paridis” motif was associated with the Aristotelian divi-
sion. It was adopted by the humanist tradition and became the an attractive theme
among the art collectors. Thus the reflection on the meaning allows to admit that the
scene represented in the art had the some hidden content and as such was understood
by the well-educated rulers and humanists from XVI till XVIII the 16th-18th centuriesy.
The Aamber craftsmen prepared their products for the highly educated public who
were , that was able to read the meaning. However it is not elear whether the concept
of beauty and its choice in the life of Paris might be the proper justification for the
human beings who make many mistakes commit numerous errors in their pursuit of
happiness.