A raptor’s-eye view in the early modern Netherlands

IF 0.1 2区 艺术学 0 ART
Yannis Hadjinicolaou
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引用次数: 0

Abstract

Yannis Hadjinicolaou’s contribution focuses on Netherlandish landscape painting in the sixteenth and seventeenth centuries, a time when visual constructions of territory were often accomplished through the lens of falconry as a political tool. Depicting the falcon flying high above the territory transforms the natural landscape into a political one through substituting and extending the ruler’s sovereignty over it. A vertical perspective of power is allowed through the human-fabricated ‘bird’s-eye view’. This territorial aerial ‘view’ offers a political and privileged perspective over a vast, flat, and shapeable landscape through evoking the very etymology of land-schap in Dutch, here embodied by a ‘raptor’s eye’. Notably, an artist has to act like a falcon, sharply monitoring an area, if he or she wants to produce fine landscapes according to art theoretical works of the time. Studying the epistemic imagery of falconry can teach us much about the merging of art and nature together with their respective political implications through visual representations.
近代早期荷兰的猛禽视角
Yannis Hadjinicolaou的贡献集中在16世纪和17世纪的荷兰风景画上,当时的领土视觉结构通常是通过作为政治工具的猎鹰镜头来完成的。描绘猎鹰在领土上空翱翔,通过取代和扩展统治者对自然景观的主权,将自然景观转化为政治景观。通过人造的“鸟瞰图”,可以看到垂直的视角。这种领土空中“视图”通过唤起荷兰语中land-schap的词源,为广阔、平坦、可塑造的景观提供了一种政治和特权视角,在这里体现为“猛禽的眼睛”。特别是,艺术家要想根据当时的艺术理论作品创作出精美的风景,就必须像一只猎鹰一样,敏锐地监视着一个区域。研究猎鹰的认知意象可以让我们了解艺术与自然的融合,以及它们各自通过视觉表现的政治含义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
0.10
自引率
50.00%
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0
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