Category Archives: Art

Paintings With Navels of Adam and Eve – Part 1


Myself

 

 

 

By T. V. Antony Raj
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Adam and Eve by Lucas Cranach the Elder (1526)
Adam and Eve by Lucas Cranach the Elder (1526)

The above painting opened my eyes to the world of art. Do you see anything wrong in this painting of Adam and Eve? I am not a connoisseur of art per se, nor do I pretend to be one.

Explain this - Adam and Eve by Lucas Cranach the Elder (1526)
Explain this – Adam and Eve by Lucas Cranach the Elder (1526)

I couldn’t but exclaim “What? Adam and Eve with belly buttons? The artist was a dumb idiot!” 

But the artist who painted it was an educated person named Lucas Cranach the Elder, a German Renaissance painter and graphic artist who excelled in portraits and in female nudes. 

Self portrait by Lucas Cranach the Elder
Self-portrait by Lucas Cranach the Elder

Lucas Cranach the Elder was the principal member of the family of artists by the name Cranach who were active in Saxony during the 16th century.

From about 1501 to 1504 Lucas Cranach lived in Vienna, and his earliest known works date from this period. They include a portrait of the Wife of Dr Johann Stephan Reuss (1503), found in the collection of Staatliche Museen, Berlin and The Crucifixion (1503, in Alte Pinakothek, Munich).

In 1505 Cranach became court painter to the electors of Saxony at Wittenberg and held the position until 1550. As a prominent citizen in Wittenberg, he received a title and was mayor in 1537.

In 1508 he visited the Netherlands, where he painted portraits of such royalty as Holy Roman Emperor Maximilian I and the young prince who succeeded him as Charles V. He painted biblical and mythological scenes with decorative sensual nudes that were new to German painting. These works include many versions of Adam and EveThe Judgment of Paris (1528, Metropolitan Museum, New York), and nearly 20 versions of Venus and Cupid from 1527 to 1545. 

As a friend of Martin Luther, Cranach’s art expresses much of the spirit and feeling of the German Reformation. 

Cranach ran a large workshop and produced hundreds of works. His sons too were artists. His oldest son Hans Cranach died prematurely. His other son, Lucas Cranach the Younger was his pupil and assistant and distinguished himself.

Lucas Cranach died in Weimar, on October 15, 1553.

Here are some more paintings of Adam and Eve by Lucas Cranach the Elder. All with navels!
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Adam and Eve - 01b - Lucas Cranach the ElderAdam and Eve - 16 - Lucas Cranach the ElderAdam and Eve - 19 - Lucas Cranach the Elder

Adam and Eve - 17 - Lucas Cranach the ElderAdam and Eve - 05Adam and Eve - 18 - Lucas Cranach the Elder

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Paintings of “Along the River During the Qingming Festival”


Myself

By T.V. Antony Raj

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The era of Song dynasty (宋朝) that succeeded the Five Dynasties and Ten Kingdoms period in Chinese history began in 960 and continued until 1279. There are two distinct periods in the Song dynasty  – Northern and Southern.

During the Northern Song (北宋) period from 960 to 1127, the dynasty controlled most of China proper with the northern city of Bianjing (now Kaifeng) as its capital.

During the Southern Song (南宋) period from 1127 to 1279, the Song dynasty lost control of northern China in the Jin–Song Wars to the Jurchen Jin dynasty.

The Song dynasty was the first in world history to issue national bank notes or true paper money, the first Chinese regime to establish a permanent navy, and the first to use gunpowder. It was during the Song dynasty that the Chinese found the true north using a compass.

The Qing Ming Shang He Tu (simplified Chinese: 清明上河图; traditional Chinese: 清明上河圖) or “Along the River During the Qingming Festival” is a scroll painting created by the famous Chinese painter Zhang Zeduan (1085 – 1145) alias Zheng Dao who lived during the transitional period from the Northern Song to the Southern Song and was instrumental in the early history of the Chinese landscape art style known as shan shui.

This painting considered the most renowned work among all Chinese paintings dubbed as “China’s Mona Lisa” has a theme of the worldly commotion and the festive spirit during the celebration of the Qingming Festival. It encapsulates the landscape of the capital, Bianjing, today’s Kaifeng and the life of its people.

This scroll painting is 9.76 inches (24.8 cm) in height and 17.35 feet (5.287 metres) long. It depicts the bustling and lively life and beautiful natural scenery on both sides of the river that meanders through Kaifeng, the capital of the Northern Song Dynasty during the Qingming Festival. The two main portions in the painting are the countryside and the market in the densely populated city. It has more than 170 trees, 30 buildings, 814 humans, 8 sedan chairs, over 60 horses and other animals, 20 vehicles, and 28 boats.

The painting reveals the lifestyle of all levels of the society from rich to poor in successive scenes and offers glimpses of the architecture and clothing of the Song period.

For centuries, the scroll painting was a pride of the personal imperial collections of the Chinese emperors.

Aisin-Gioro Puyi, the Last Emperor (Source - Japanese magazine 'Historical Photograph,' March 1934 issue published by Rekishi-Shasin Kai)
Aisin-Gioro Puyi, the Last Emperor (Source – Japanese magazine ‘Historical Photograph,’ March 1934 issue published by Rekishi-Shasin Kai)

The original Song dynasty painting “Along the River During the Qingming Festival” was a favorite of Puyi (February 7, 1906 – October 17, 1967), also known as Henry Pu Yi, the last Emperor of China and the twelfth and final ruler of the Qing dynasty. At the end of the Second Sino-Japanese War in 1945, he took it along with him when he left Beijing. It was then re-purchased and kept at the Palace Museum in the Forbidden City.

The following video describes how the original “Along the River During the Qingming Festival” painting showcased the best of life in the Song Dynasty – one of the golden ages of China.

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Remakes of the painting

Revered as a work of art, the scroll painting “Along the River During the Qingming Festival” inspired the creation of several works of art during subsequent dynasties. Court artists made re-interpretive versions of the painting by reviving and updating the style of the original. Even though each of these later paintings follow the composition and the original theme, they differ in details and painting techniques.

The Yuan version

Zhao Mengfu (1254 - 1322)
Zhao Mengfu (1254 – 1322)

During the Yuan dynasty (1271–1368), Zhao Mengfu (1254–1322) made a remarkable remake of the original,

The Ming version

Another notable remake painted during the Ming dynasty (1368–1644) is 22 feet (6.7 metres) long and is longer than the original Song version.

Based on contemporary fashions and customs the Ming version replaced the scenery from the Song dynasty to that of the Ming dynasty with the costumes worn by the people updated and the styles of vehicles (boats and carts) changed.

The bridge scene in the original Qing Ming Shang He Tu painting - An oncoming boat is in danger of crashing into the bridge.
The bridge scene in the original Qing Ming Shang He Tu painting – An oncoming boat is in danger of crashing into the bridge.

In the original Song painting,  the crew of an oncoming boat have not yet fully lowered their sails and are in danger of crashing into wooden the bridge.

Men ashore guiding a boat by pulling ropes tied to it in the Ming version.
Men ashore guiding a boat by pulling ropes tied to it in the Ming version.

In the Ming version, a stone bridge with a taller arch replaced the Song wooden bridge, and men ashore guide the boat under the bridge by pulling ropes tied to it.

The Qing version

On January 15, 1737, the Qianlong Emperor received a present of a version painted by five Qing dynasty court painters (Chen Mu, Sun Hu, Jin Kun, Dai Hong and Cheng Zhidao). This Qing remake is much larger – 36 feet (11 metres) long and  1 ft 1.68 inches (35 cm) high – and has over 4,000 people in it.

While in the original Song version, the leftmost side contains images of the busy city, the leftmost third of this Qing version depicts life within the palace, with buildings and people appearing refined and elegant. Most people within the castle are women along with some well-dressed officials.

The Qianlong Emperor in his study, painting by Giuseppe Castiglione, (1688 - 1766).
The Qianlong Emperor in his study, painting by Giuseppe Castiglione, (1688 – 1766).

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In April 1742, a poem composed by the Qianlong Emperor was added to the rightmost end of the Qing remake.  The poem reads as follows:

蜀錦裝金壁   – A wall of gold has been mounted on Shu brocade.
吳工聚碎金   – Craftsmen from Wu collect spare change
謳歌萬井富 – To pay tribute to the abundance of a myriad of families.
城闕九重深  – The watchtowers of the city rise to great heights.
盛事誠觀止  – The bustling scene is truly impressive.
遺踪借探尋 – It is a chance to explore vestiges of bygone days.
當時誇豫大 – At that time, people marveled at the size of Yu,
此日歎徽欽 – And now, we lament the fates of Hui and Qin.

In 1949, the National Palace Museum in Taipei received the Qing version along with many other artifacts.

Over the centuries, many affluent Chinese treasured the original Qingming scroll. Eventually, it returned to public ownership.

The original Song dynasty painting now kept at the Palace Museum in the Forbidden City and the Qing version in the Taipei Palace Museum, are both considered national treasures and are exhibited every few years for brief periods.

The following video with narration in Chinese shows the different versions of the remakes of the “Along the River During the Qingming Festival” but uses the Ming version to explain the life of the Chinese then, in the near past, and now.

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Digital version

Logo of Shanghai World Expo 2010.

From May 1 to October 31, 2010, China hosted Expo 2010, a major World Expo,  officially known as the Expo 2010 Shanghai China in the tradition of international fairs and expositions.

A 3D animated, viewer-interactive digital version of the original “Along the River During the Qingming Festival” titled “River of Wisdom“, screened for three months was the primary exhibit at the China Pavilion. This elaborate computer animated mural about 30 times the size of the original scroll had moving characters and objects that made the painting come to life. It presented the scene in a four-minute day to night cycles. Those who reserved in advance had to queue up to two hours to see the 3D animated version.

After the Expo, the digital version was on display at the AsiaWorld–Expo in Hong Kong from November 9 to 29, 2010; at the Macau Dome in Macau from March 25 to April 14, 2011; and at the Expo Dome in Taipei, Taiwan from July 1 to September 4, 2011.

From December 7, 2011, to February 6, 2012, a digital reproduction was exhibited at the Singapore Expo titled “A Moving Masterpiece: The Song Dynasty As Living Art“.

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The Hanging Column in the Veerabhadra Temple in Lepakshi, AP, India


Myself

By T.V. Antony Raj

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Lepakshi is a small village in the Anantapur District in Andhra Pradesh, India. It is about 9 miles (15 km) east of Hindupur and about 75 miles (120 km) north of Bangalore.

This village is historically and archaeologically significant. It has three shrines dedicated to the Hindu gods Shiva, Vishnu and Veerabhadra built during the period of Vijayanagara Kings (1336–1646).

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The Hanging Column in the Veerabhadra temple at Lepakshi, Anantapur District, Andhra Pradesh, India (Source: images.worthview.com)
The Hanging Column in the Veerabhadra temple at Lepakshi, Anantapur District, Andhra Pradesh, India (Source: images.worthview.com)

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The famous 16th-century Veerabhadra stone temple constructed in Vijayanagar style has about 70 pillars, but only one of these pillars is best known as the Aakaasa Sthambha (Hanging Column). It is a tribute to the engineering genius of the temple builders of medieval India. The pillar does not rest on the ground fully.

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The Hanging Column in the Veerabhadra temple at Lepakshi, Anantapur District, Andhra Pradesh, India.
The Hanging Column in the Veerabhadra temple at Lepakshi, Anantapur District, Andhra Pradesh, India. (Source: wikimapia.org)

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Cloth under the Hanging Column in the Veerabhadra temple at Lepakshi, Anantapur District, Andhra Pradesh, India.
Cloth under the Hanging Column in the Veerabhadra temple at Lepakshi, Anantapur District, Andhra Pradesh, India.

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A cloth can slide smoothly underneath this Hanging pillar.

During the British era, a British engineer tried to move it to uncover the secret of its support. His attempt was unsuccessful and the pillar got slightly dislodged from its original position.

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Ra Paulette, the Cave-digging Artist


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Myself  

By T.V. Antony Raj

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It has a lot to do with the juxtaposition of opposites: the sense of being underground with the light streaming in; the intimacy of being in a cave, yet the columns end up very large, sometimes thirty to forty feet high.  – Ra Paulette in an interview, 2014

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Ra Paulette, the American cave sculptor
Ra Paulette, the American cave sculptor

For the past 25 years, 67-year-old Ra Paulette, an American cave sculptor based in New Mexico has been carving out caves from the sandstone hills of New Mexico. He digs, shovels, scrapes, and bores into hillsides. He then sculpts elaborate artistic spaces inside these caves. He turns the underground sculpted spaces into works of art. And, his caves attract visitors worldwide.

Ra Paulette grew up in  La Porte, LaPorte County, Indiana, United States, along the shores of Lake Michigan. In 1985, he moved to the small town of Dixon in Rio Arriba County, New Mexico, near the Rio Grande about 35 miles north of Santa Fe.

A veteran of the Vietnam War, Ra Paulette began creating underground art. When he roamed the rugged terrain of the remote backcountry and found a promising spot on the side of a sandstone cliff he would start digging with his pickaxe. He works with rudimentary hand tools such as shovels, pick axes, and scrapers. Paulette never studied architecture, sculpting or structural engineering in a formal school. He is self-taught.

In 1987 Paulette finished his first cave using a shovel and buckets and a wheelbarrow. He called the “Heart Chamber.” Later on, he described it to a historian as “a secret place for me, a private place, a hermitage.” The Heart Chamber had many visitors and it almost developed into a public shrine. The cave was on public land and he had dug it without permission from the authorities. Fearing it might collapse on a visitor, he buried the chamber and sealed it off.

The Jemez Mountains are a volcanic group of mountains in New Mexico, United States. Located in the rural Ojo Caliente River Valley, approximately halfway between is the Rancho de San Juan, the 225-acre Relais & Chateaux Country Inn and Restaurant. David Heath and John H. Johnson II, the owners of the ranch had moved to the area from California to open the elegant Resort.

In June 1994, Ra Paulette approached the owners of Rancho de San Juan. He showed them pictures of the Heart Chamber and asked them if they would like to commission him to dig a shrine on their property. At first the owners were reluctant. After several months 0f persistence by Paulette, they relented. They wanted their guests to have a view of the surrounding impressive landscape from their ranch. They commissioned Ra Paulette to open the interior of the natural butte. Heath and Johnson paid him between $10 and $16 per hour for his work.

"Windows in the Earth" shrine  was carved over 2 1/2 years.
“Windows in the Earth” shrine was carved over 2 1/2 years.

It took two and a half years for Ra Paulette to create the “Windows in the Earth Shrine.” It is a chamber with lofty arched ceilings and imposing columns. Long windows fill the chambers with light. The windows provide a spectacular panorama of the magnificent Jemez Mountains. Inside the sandstone cave, one can enjoy the art created by Ra Paulette. He has carved all sorts of shapes on the interior sandstone walls: scallops, molded curves, smooth ledges, inlaid stones, narrow pods and crusty ledges. There is space to meditate and write. Even high desert weddings take place there.

Later on, Ra Paulette created more than a dozen caves. He spent months and in some cases he toiled for years on each of them.

Ra Paulette's cave
Ra Paulette’s cave

Ra Paulette's cave
Ra Paulette’s cave

Ra Paulette's cave
Ra Paulette’s cave

Ra Paulette's cave
Ra Paulette’s cave

Needless to say, the work of Ra Paulette was backbreaking. He carved out rooms, connected tunnels, created alcoves and arches, benches, steps, pillars, etc. He decorated the surfaces with sculpted shapes and chiseled ornamental patterns. He broke through walls and ceilings to create windows and skylights to bring in sunlight to the dark underground spaces.

Martha Mendoza, a reviewer in the Los Angeles Times described the caves of Ra Paulette as hallowed places and as a sanctuary for prayer and meditation. Many connoisseurs of art describe the caves of Ra Paulette as works of art.

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William Marshall Brown, the Atmospheric Figurative Artist


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Myself . 

By T.V. Antony Raj

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The Bait Gatherers - painting by William Marshall Brown, Leamington Spa Art Gallery & Museum, Warwickshire, England
The Bait Gatherers – painting by William Marshall Brown, Leamington Spa Art Gallery & Museum, Warwickshire, England

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William Marshall Brown, a distinguished Scottish artist was born on January 3, 1863 in Edinburgh.

While working as a wood engraver and book illustrator, Marshall Brown studied art at the Edinburgh College of Art and at the Royal Scottish Academy Life School.

Though he painted landscapes and portraits, he is best known for his atmospheric figurative work with a background of landscapes or seascapes.

In 1888, Marshall Brown received the Chalmers Bursary and Stewart Prize.

The Royal Scottish Academy (RSA) is a Scottish organisation that promotes contemporary Scottish art. In 1909, Marshall Brown became an Associate of the Royal Scottish Academy (ARSA). In 1928, he became a member of the Academy (RSA). In 1929 became a Member of the Royal Scottish Watercolour Society.

Marshall Brown worked mostly in Scotland and lived for some time in Edinburgh and at Cockburnspath in Berwickshire. Though not a native of East Lothian like many other artists, he too captivated by the coast, the landscape and its inhabitants spent many years working in the county. Many of his paintings such as the farm workers, fisher girls, etc., were characteristic of his times. And, the East Lothian connection can often be seen in the details like the bonnets, creels, and baskets.

A Breton Washing Pool - painting by William Marshall Brown, Royal Scottish Academy of Art & Architecture
A Breton Washing Pool – painting by William Marshall Brown, Royal Scottish Academy of Art & Architecture

Like many of his Scottish contemporaries, Marshall Brown made frequent trips to Holland and Brittany in France. In “A Breton Washing Pool,” Marshal Brown has captured a group of Breton women working on the shoreline, possibly near the town of Concarneau.

Sardine Fishers, Concarneau, France - painting by William Marshall Brown, City of Edinburgh Council.
Sardine Fishers, Concarneau, France – painting by William Marshall Brown, City of Edinburgh Council.

He created his work “Sardine Fishers” in Concarneau, France.

Marshall Brown’s work is held in many museums, including the City of Edinburgh Collection, Berwick Museum & Art Gallery, Leamington Spa Art Gallery & Museum in Warwickshire, Dundee Art Galleries and Museums Collections, Hunterian Art Gallery, Paisley Museum and Art Galleries, Royal Scottish Academy of Art & Architecture, etc.

William Marshall Brown died on April 26, 1936.

 Here are some works of William Marshall Brown:

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A Nimble Fingered Artist


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Myself  

By T.V. Antony Raj

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Panoramic view of Málaga from Gibralfaro (Photo: Kiban)
Panoramic view of Málaga from Gibralfaro (Photo: Kiban)

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The City of Málaga is the capital of the Province of Málaga, in the Autonomous Community of Andalusia, Spain. The cynosure of the city is the Santa Iglesia Catedral Basílica de la Encarnación, the Cathedral of Málaga. It is  a Renaissance Catholic church.

Nimble fingered artist

Outside the Cathedral, one can find a nimble-fingered street artist.  He paints three pictures in three minutes. He sells his masterpieces for mere 10 Euros.

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How to Make a Yellow Submarine Sandwich!


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Myself  .By T.V. Antony Raj

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In this stop-motion animated video titled “Submarine Sandwich” PES shows us in a witty, funny way how to make a Yellow Submarine Sandwich!

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The Controversial Poster for “Nude Men – From 1800 to Today” Exhibition


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Myself  .

By T.V. Antony Raj

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More women than men stop to stare at Mr. Big by Ilse Haider. Installation in the courtyard of the MuseumsQuartier, Vienna Walk-in sculpture. Courtesy Galerie Steinek, Vienna
More women than men stop to stare at Mr. Big by Ilse Haider. Installation in the courtyard of the MuseumsQuartier, Vienna Walk-in sculpture. Courtesy Galerie Steinek, Vienna

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In Austria, Elisabeth and Rudolf Leopold collected more than 5,000 exhibits over five decades. In 1994, the exhibits were consolidated into the Leopold Museum Private Foundation with the help of the Republic of Austria and the National Bank of Austria.

The Leopold Museum, housed in the Museumsquartier in Vienna, Austria, opened in 2001. It has one of the largest collections of modern Austrian art featuring artists such as Egon Schiele, Gustav Klimt, Oskar Kokoschka and Richard Gerstl. In fact, it houses the world’s largest Egon Schiele Collection.

The core of the Leopold Museum collection consists of Austrian art of the first half of the 20th century. It  includes key paintings and drawings by Egon Schiele and Gustav Klimt. Major Austrian works of art from the 19th and 20th centuries illustrate the historical context. They show the gradual transformation from the Wiener Secession, the Art Nouveau/Jugendstil movement in Austria to Expressionism.

On October 19, 2012, it opened its major exhibition by Ilse Haider, about male nudes titled “Nackte Männer von 1800 bis heute” (“Nude Men – From 1800 to Today”). The exhibits describe how male nudity has evolved in art and includes pieces by Egon Schiele, Auguste Rodin and Andy Warhol.

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Nackte Männer (Source - .huffingtonpost.co.uk)
The controversial Poster “Nackte Männer – von 1800 bis heute” (Source – .huffingtonpost.co.uk)

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The Museum advertised the event with a large promotional street poster that featured one of the exhibition’s most prominent artworks, a photograph called ‘Vive La France‘ by French artists Pierre & Gilles. It showed three French football players: the first black, the second Arab/Muslim and the third white. All three players standing naked on a pitch, with their genitals revealed, showered with confetti. They wore nothing but socks and boots.

The poster elicited a public outcry. The Museum denied the allegations that the controversial poster was a gimmick to draw crowds to its major exhibition. However, the artists themselves amended their work. They added a red stripe to cover the players’ genitalia on roughly 180 large posters in Vienna.

In fact, the public outcry proved that the photo’s jubilant scene prophetic. The exhibition, which ran until January 28, 2012, was a great success and drew more than 2000 daily visitors. evolved in art and includes pieces by Egon Schiele, Auguste Rodin and Andy Warhol.

An obvious question that arises from the controversy over the naked French footballers is:

“Why is the image of a naked male more controversial than the image of a naked female?”

May be we have become more accustomed to seeing naked women more than naked men.  The devil

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Leonardo da Vinci: Part 6 – Did He Believe in God?


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Myself By T.V. Antony Raj

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Leonardo da Vinci - Religion

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Almost every human has a theology of his own about God. The Jews believe that they are the Chosen People of God. Many Christians believe that Jesus of Nazareth is the only-begotten ‘Son of God’. The Muslims believe that Muhammad is the last and greatest prophet of God in human history. The Agnostics believe that mortal humans do not have enough intelligence or information to determine if God exists or not. And, the Atheists say that the entity called God does not exist.

Leonardo da Vinci, was a mysterious, strange person. For hundreds of years, researchers and writers have debated his actual religious beliefs and leanings. While some claim he was a Christian others have labelled him as an absent-minded Roman Catholic, an Agnostic, the forerunner of the Protestant Reformation, and even as an Atheist.

Among his contemporaries, Leonardo da Vinci was the most intelligent human. Hence, people would want to know what his theology was. Perhaps Leonardo probably had a good theology, and even the best theology that could help everyone in this life and in the next life, if there is one.

About Leonardi da Vinci, Giorgio Vasari wrote:

“[Leonardo’s] cast of mind was so heretical that he did not adhere to any religion, thinking perhaps that it was better to be a philosopher than a Christian.”

So, What was Leonardo’s theology? Was it the teachings of the Roman Catholic Church? If not, what did Leonardo base his beliefs on?

There was no formal scientific research in the Middle Ages. Unable to suppress the writings of the ancient Greeks, the Roman Catholic Church allowed the teaching of ancient Greek science as long as it did not conflict with the Holy Bible and its own teachings. The scholars had to accept the observations of nature passed down from Aristotle and other ancient Greeks.

The Roman Catholic Church forced the people to implicitly believe and follow its doctrines. The Church would not permit free inquiry. It imprisoned, tortured, and executed truth-seekers. Leonardo was a truth-seeker, and this fact would not endear him to the Roman Catholic Church. It was not so with most Italian contemporaries of Leonardo. Their ultimate goal was to have the eternal rapture in Heaven.

Leonardo’s writings show that he based all his beliefs on reason. He wrote:

“I can never do other than blame many of those ancients who said that the sun was no larger than it appears; among these being Epicurus; and I believe that he reasoned thus from the effects of a light placed in our atmosphere equidistant from the centre; whoever sees it never sees it diminished in size at any distance.

“Those who study the ancients and not the words of Nature are stepsons and not sons of Nature, the mother of all good authors.”

Reason is the capacity to perceive reality, applying logic, establishing and verifying facts and beliefs based on new or existing information.

The opposite of ‘reason’ is ‘faith’.

Faith is confidence or trust in a person, thing, deity, view, or in the doctrines or teachings of a religion, as well as confidence based on some degree of warrant. It can also be a belief that is not based on proof. The word faith is often used as a synonym for hope, trust, or belief.

The best definition I have come across for faith is by Mark Twain: “Faith is being convinced that what you don’t believe is true.”

Through reason we deduce that human beings built the pyramids of Egypt by themselves, while faith might lead us to conjecture that aliens helped the ancient Egyptians to build them.

So, ‘faith’ is believing in something without acceptable ‘reason’.

Leonardo valued reason much more than faith. He was a great artist, but he was also a great scientist of his age. Judging from his writings, his main goal in life was to know as much about the real universe as he could. He was the first to question the statements of Aristotle, Ptolemy, and other Greek and Roman philosophers. He stated that their teachings ought to be tested and challenged and not accepted as axioms.

Leonardo praised reason-based understanding and criticized faith-based beliefs. Here are some excerpts from his writings:

“I am well aware that because I did not study the ancients, some foolish men will accuse me of being uneducated. They will say that because I did not learn from their schoolbooks, I am unqualified to express an opinion. But I would reply that my conclusions are drawn from firsthand experience, unlike the scholars who only believe what they read in books written by others.”

“Although I cannot quote from authors in the same way they do, I shall rely on a much worthier thing, actual experience, which is the only thing that could ever have properly guided the men that they learn from.”

“These scholars strut around in a pompous way, without any thoughts of their own, equipped only with the thoughts of others, and they want to stop me from having my own thoughts. And if they despise me for being an inventor, then how much more should they be despised for not being inventors, but followers and reciters of the works of others.”

“When the followers and reciters of the works of others are compared to those who are inventors and interpreters between Nature and man, it is as though they are non-existent mirror images of some original. Given that it is only by chance that we are invested with the human form, I might think of them as being a herd of animals.”

“Those who try to censor knowledge do harm to both knowledge and love, because love is the offspring of knowledge, and the passion of love grows in proportion to the certainty of knowledge. The more we know about nature, the more we can be certain of what we know, and so the more love we can feel for nature as a whole.”

“Of what use are those who try to restrict what we know to only those things that are easy to comprehend, often because they themselves are not inclined to learn more about a particular subject, like the subject of the human body.”

“And yet they want to comprehend the mind of God, talking about it as though they had already dissected it into parts. Still, they remain unaware of their own bodies, of the realities of their surroundings, and even unaware of their own stupidity.”

“Along with the scholars, they despise the mathematical sciences, which are the only true sources of information about those things which they claim to know so much about. Instead, they talk about miracles and write about things that nobody could ever know, things that cannot be proven by any evidence in nature.”

“It seems to me that all studies are vain and full of errors unless they are based on experience and can be tested by experiment, in other words, they can be demonstrated to our senses. For if we are doubtful of what our senses perceive then how much more doubtful should we be of things that our senses cannot perceive, like the nature of God and the soul and other such things over which there are endless disputes and controversies.”

“Wherever there is no true science and no certainty of knowledge, there will be conflicting speculations and quarrels. However, whenever things are proven by scientific demonstration and known for certain, then all quarreling will cease. And if controversy should ever arise again, then our first conclusions must have been questionable.”

As often happens with great geniuses, stories and legends have been woven around Leonardo’s death. In the 1568 enlarged edition of “The Lives“, Giorgio Vasari describes Leonardo’s final months. He claims that Leonardo, regretted not having followed a life governed by the laws of the Church:

“Finally, being old, he lay sick for many months. When he found himself near death, he made every effort to acquaint himself with the doctrine of Catholic ritual… He died on May 2, having received the sacraments of the Church”

It seems odd that this version of Leonardo’s death was not recorded in the first edition of “The Lives“. It is almost as if Vasari felt the need after a while to make Leonardo seem Roman Catholic. Perhaps the Roman Catholic Church pressured Vasari to add this detail.

So, the perennial question is: “Did Leonardo da Vinci believe in God?

Answer: “May be, yes.”

Leonardo wrote about God as if God exists. Here are some excerpts from the Leonardo’s writings:

“Good Report soars and rises to heaven, for virtuous things find favor with God. Evil Report should be shown inverted, for all her works are contrary to God and tend toward hell.”

“O you who look on this our machine, do not be sad that with others you are fated to die, but rejoice that our Creator has endowed us with such an excellent instrument as the intellect.”

“We may justly call… paintingthe grandchild of nature and related to God.”

“We, by our arts may be called the grandsons of God.”

“Fame alone raises herself to Heaven, because virtuous things are in favour with God.”

“If the Lord—who is the light of all things—vouchsafe to enlighten me, I will treat of Light; wherefore I will divide the present work into three Parts: Linear Perspective, The Perspective of Colour, The Perspective of Disappearance.”

“Thou, O God, dost sell unto us all good things at the price of labour.”

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Leonardo da Vinci: Part 5 – His Final Years


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Myself By T.V. Antony Raj

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The red-chalk drawing in Turin, claimed to be a self-portrait by Leonardo da Vinci (1510-1515). In April 2009, the American art historian, Louis A. Waldman, specializing in the Italian Renaissance made pathetic headlines when he publicly presented documentary evidence revealing that some time before July 1505 Leonardo da Vinci painted a portrait of his beloved uncle, Francesco da Vinci. Waldman argued that this red-chalk drawing — one of the most famous drawings in the history of art due to its frequent misidentification as a self-portrait — is likely to be a preparatory study for the lost painting of Leonardo's uncle.
The red-chalk drawing in Turin, claimed to be a self-portrait by Leonardo da Vinci (1510-1515). In April 2009, the American art historian, Louis A. Waldman, specializing in the Italian Renaissance made pathetic headlines when he publicly presented documentary evidence revealing that some time before July 1505 Leonardo da Vinci painted a portrait of his beloved uncle, Francesco da Vinci. Waldman argued that this red-chalk drawing — one of the most famous drawings in the history of art due to its frequent misidentification as a self-portrait — is likely to be a preparatory study for the lost painting of Leonardo’s uncle.

Due to the political instability in Milan, Leonardo left for Rome accompanied by Melzi and Salai on September 24, 1513.

Giuliano di Lorenzo de’ Medici, was an Italian nobleman, the third son of Lorenzo the Magnificent. One of his elder brothers Giovanni de‘ Medici was now Pope Leo X. Appointed Gonfaloniere of the Holy Church, Giuliano had heard much of Leonardo. Meeting Leonardo for the first time, Giuliano welcomed him with open arms like two friends meeting after years of separation. He gave Leonardo lodgings in Fort Belvedere, with a studio and several rooms for his companions.

An anonymous copy of the lost portrait of Giuliano de' Medici by Raphael.
An anonymous copy of the lost portrait of Giuliano de’ Medici by Raphael.

Giuliano and Leonardo became close friends. They discovered in each other the same interests – love of mathematics, mechanics, and nature, and they shared similar thoughts and feelings. Guiliano’s protection gave security to Leonardo and new impetus to carry on with his interests.

Like his father, Giuliano too was a friend and protector of many artists in Florence and Rome. He immediately commissioned two paintings, a Leda and a portrait of a Florentine woman.

In the Vatican Leonardo enjoyed a period of tranquility with a decent salary and no major obligations. He drew maps, studied ancient Roman monuments, started a project for a large residence for the Medici in Florence. He conducted experiments in human flight. From big models Leonardo went on to create tiny ones. He experimented with gliding flights and the curvature of the wings by modelling miniature birds in thin wax.

In Rome, Leonardo found an old acquaintance, Donato Bramante, the Italian architect, who introduced Renaissance architecture to Milan and the High Renaissance style to Rome. He also found the Pope’s favourite, Raphael, the Italian painter and architect of the High Renaissance holding court like a prince.

There was no formal scientific research in the Middle Ages. Unable to suppress the writings of the ancient Greeks, the Roman Catholic Church allowed the teaching of ancient Greek science as long as it did not conflict with the Holy Bible and its own teachings. The scholars had to accept the observations of nature passed down from Aristotle and other ancient Greeks. The Church would not permit free inquiry. It imprisoned, tortured, and executed truth-seekers. Leonardo was a truth-seeker, and this fact would not endear him to the Roman Catholic Church.  In fact, Pope Leo X prohibited Leonardo from performing dissections and autopsies. Thus, ended Leonardo’s study of the human body.

Giuliano de‘ Medici died prematurely on March 17, 1516 (aged 37), and Leonardo felt that he had no friends in Rome to protect him, not even the Pope.

King Francis I of France by Jean Clouet.
King Francis I of France by Jean Clouet.

King Francis I of France, a patron of the arts, had earlier invited Leonardo to Amboise. So, Leonardo left Italy to spend the last three years of his life in France accompanied by Melzi and Salai. King Francis provided him the Château du Clos Lucé, then called Château de Cloux, as a place to stay and work.

The king treated Leonardo as a member of the nobility and not as an employee of the royal house. He arranged an annuity of 700 gold scudi to be paid to the elderly artist, to relieve him of any shadow of worry about money. In exchange the young King asked only friendship. The King often went to Cloux to visit Leonardo or sent a carriage to bring the aged artist to his castle.

In the autumn of 1516, Leonardo was not yet 65, but looked much older like an ancient prophet. From 1517, onwards Leonardo’s health started deteriorating. Even when his right arm was paralyzed,  he still worked with his left hand. He made ​​sketches for urban projects, drainage of rivers and even decorated for the holiday palace. He even conceived the idea of prefabricated houses.

The French greeted Melzi as an “Italian gentleman living with master Leonardo,” but accepted the 36-years-old Salaì, only as a “servant”. A dejected Salaì parted from Leonardo and left France in 1518. In reality, he understood that the young Melzi had taken his place in the heart of the Maestro.

The Death of Leonardo da Vinci by Jean-Auguste-Dominique Ingres, 1818.
The Death of Leonardo da Vinci by Jean-Auguste-Dominique Ingres, 1818.

Melzi remained in France with his master until Leonardo’s death at the Château du Clos Lucé on May 2, 1519.  According to a legend, King Francis I was at his side when he died, cradling Leonardo’s head in his arms

Upon Leonardo’s death, Melzi inherited the artistic and scientific works, manuscripts, and collections of Leonardo. Melzi then wrote a letter to inform Leonardo’s brothers. In this letter he described Leonardo’s love for him. He described his master’s feeling towards him as “sviscerato e ardentissimo amore” meaning “passionate and ardent love”.

Returning to Italy, Melzi played the role of a guardian of Leonardo’s notebooks. He prepared Leonardo’s writings for publication in the manner directed by his erstwhile master.

Melzi married, and fathered a son, Orazio. When Orazio died on his estate in Vaprio d’Adda, his heirs sold the collection of Leonardo’s works.

It is commonly believed that Leonardo bequeathed to Salaì several paintings including the Mona Lisa. Salaì owned Mona Lisa until his death in 1525. In his will the Mona Lisa was assessed at 505 lire, an exceptionally high valuation for a small panel portrait at that time. Through his estate, many works, including the Mona Lisa, passed into the possession of Francis I of France.

Salaì returned to Milan to work on Leonardo’s vineyard, where his father worked before, and which his erstwhile master had passed on to him through his will.

On June 14, 1523, at the age of 43, Salaì married Bianca Coldiroli d’Annono.

Salaì died in 1524 as a result of a wound received from a crossbow in a duel. He was buried in Milan on March 10, 1524.

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Next → Leonardo da Vinci: Part 6 – Did He Believe in God?

← Previous – Leonardo da Vinci: Part 4 – His Two Favourite Pupils 

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