DOI Artikel:
Szafrańska, Małgorzata: Kosmiczny ogród
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.12455#0264
260
..ARS EMBLEMATICA". MATERIAŁY Z SESJI
17th century gardens which, as it was generally thought, did not contradict Nature, but on the contrary, brought forth its
most perfect, geometrically expressed essence. For that reason the garden has become a permanent element in the metaphors
of modern alchemy.
It is therefore not surprising that the so frequently described by the alchemists "hortus amoris" had such an influence
on painted at that time gardens; in fact, they were sometimes executed for the people who were directly connected with
the "Royal Art". Several présentations of the "garden of love" have been chosen here to prove how easily a realistic
iconographie pattern could adapt symbols derived from the esoteric language of alchemy. Moreover, it should be remembered
that the language of alchemie metaphors contains, apart from the loving couple, a number of other traditional painting
motives of the "garden of love": Cupid, Three Grâces, a dog and a rose tree, musical instruments, motive of concert,
afternoon tea, bowling, fountain of youth, garden labours, a basket of flowers, sculptured dolphins at the waterworks,
shells. a boat sailing off to an island and a sleeping nymph. It is difficult to détermine unequivocally which of the
discussed works are texts in the symbolic language of alchemy. However, the présent article is to point out to the necessity
of taking into account the alchemie aspect when the iconographie researches on modern présentation of the "gardens of
love" are being carried out. On the turn of the 16th century love subjects evolved towards less literał and more spiritual
sphères. Fréquent and fashionable till then "gardens of delights" retreated behind the veil of mystic metaphors. One of them
can be found in ..hortus alchemicus" transferring the garden into cosmic space and garden delights into the sphère of
mysterious chemical opérations, principal aim of which was to achieve the "philosophical stone".
..ARS EMBLEMATICA". MATERIAŁY Z SESJI
17th century gardens which, as it was generally thought, did not contradict Nature, but on the contrary, brought forth its
most perfect, geometrically expressed essence. For that reason the garden has become a permanent element in the metaphors
of modern alchemy.
It is therefore not surprising that the so frequently described by the alchemists "hortus amoris" had such an influence
on painted at that time gardens; in fact, they were sometimes executed for the people who were directly connected with
the "Royal Art". Several présentations of the "garden of love" have been chosen here to prove how easily a realistic
iconographie pattern could adapt symbols derived from the esoteric language of alchemy. Moreover, it should be remembered
that the language of alchemie metaphors contains, apart from the loving couple, a number of other traditional painting
motives of the "garden of love": Cupid, Three Grâces, a dog and a rose tree, musical instruments, motive of concert,
afternoon tea, bowling, fountain of youth, garden labours, a basket of flowers, sculptured dolphins at the waterworks,
shells. a boat sailing off to an island and a sleeping nymph. It is difficult to détermine unequivocally which of the
discussed works are texts in the symbolic language of alchemy. However, the présent article is to point out to the necessity
of taking into account the alchemie aspect when the iconographie researches on modern présentation of the "gardens of
love" are being carried out. On the turn of the 16th century love subjects evolved towards less literał and more spiritual
sphères. Fréquent and fashionable till then "gardens of delights" retreated behind the veil of mystic metaphors. One of them
can be found in ..hortus alchemicus" transferring the garden into cosmic space and garden delights into the sphère of
mysterious chemical opérations, principal aim of which was to achieve the "philosophical stone".