زینت و هیولا در هنر نوین اولیه (فرهنگ بصری و مادی، ۱۳۰۰-۱۷۰۰)

Early modern art features a remarkable fascination with ornament, both as decorative device and compositional strategy, across artistic media and genres. Interestingly, the inventive, elegant manifestations of ornament in the art of the period often include layers of disquieting paradoxes, creating tensions -- monstrosities even -- that manifest themselves in a variety of ways. In some cases, dichotomies (between order and chaos, artificiality and nature, rational logic and imaginative creativity, etc.) may emerge. Elsewhere, a sense of agitation undermines structures of statuesque control or erupts into wild, unruly displays of constant genesis. The monstrosity of ornament is brought into play through strategies of hybridity and metamorphosis, or by the handling of scale, proportion, and space in ambiguous and discomforting ways that break with the laws of physical reality. An interest in strange exaggeration and curious artifice allows for such colossal ornamental attitude to thrive within early modern art Cover 1 Title Page 2 Series Page 3 Half Title Page 4 Copy Right Page 5 Contents 6 List of Illustrations 8 Introduction 14 On Ornament: Framed between Cosmos and Cosmetics 17 On Monstrosity: Reality, Imagination, and Licence 25 Historical Perspectives 31 A Brief Survey 35 Bibliography 37 About the authors 42 Part I Grotesques 44 1. Ambiguous Delights: Ornamental ­Grotesques and Female Monstrosity in Sixteenth-­Century Italy 46 Grotto-esque Imagery and Female Monsters 47 Problems of Femininity and Hybridity 58 The Art of Transformation 61 Artistic Licence 64 Changing Concepts of Art 67 Taming the Monsters 68 Bibliography 69 About the author 73 2. Dissonant Symphonies: The Villa d’Este in Tivoli and the Grotesque 74 Art into Landscape: The Grotesque from Vitruvius to Ligorio 77 The Grotesque in the Garden: Artemis of Ephesus at the Villa d’Este 85 Conclusion: The Monstrous 90 Bibliography 91 About the author 93 Part II Sacred Space and Narrative 94 3. Outside-In: The Intrusion of Ornament into Sacred Narrative 96 The Passio Verbigenae 106 Netherlandish Grotesque 111 Monstrous Relations 119 Gheeraerts and Art 124 Bibliography 130 About the author 133 4. ‘That savage should mate with tame’: ­Hybridity, Indeterminacy, and the ­Grotesque in the Murals of San Miguel Arcángel (Ixmiquilpan, Mexico) 134 Iconography and Context 135 The Grotesque in Mexico 139 The Grotesque in Europe 140 Problems of the Mexican Grotesque 142 Ixmiquilpan and Its Environs 146 Anxieties of Classification and Control 147 Bibliography 150 About the author 153 5. Decoration in the Desert: Unsettling the Order of Architecture in the Certosa di San Martino 154 Unsettling the Classical Language of Architecture 157 Monstrous Architecture 160 Caught in Time: The Architecture of Solitude 164 Alternative Visions of the Desert: A Carthusian Book of Emblems 166 Ornament in the Gap 169 Conclusion 173 Bibliography 173 About the author 175 Part III Agency and Ornament Enlivened 176 6. Masquing/(Un)Masking: Animation and the Restless Ornament of Fontainebleau 178 Restless Ornament 180 Masquing 188 (Un)masking 194 Stilling Restless Ornament 200 Bibliography 200 About the author 203 7. Sea-Change: The Whale in the Florentine Loggia 204 Shifting Worldviews: Anatomy and Cosmology 206 Deep Sea Curiosities 208 Fragile Beasts 209 Form and Formlessness 212 Anthropomorphic Thinking 216 Bibliography 219 About the author 220 8. Ornament and Agency: Vico’s Poetic ­Monsters 222 Ornament that Insists on Speaking 223 Renaissance Embrace of Rogue Ornament 227 Vico’s Poetic Monsters 233 Corso and Ricorso: Resurgence of Ornament in Contemporary Art 237 Bibliography 242 About the author 243 Part IV A Historical Perspective 244 9. Trafficking the Body: Prolegomena to a ­Posthumanist Theory of Ornament and Monstrosity 246 Introduction 246 The Complexity Hierarchy between the Great Chain of Being (Space) and Evolution (Time) 249 The Inorganic 251 Ergon/Parergon 255 Monstrosity between Organisms and the Inorganic 260 Ornaments, Monstrosity, and the Grotesque 263 Islands (of Empathy) in a Nonhuman Ocean (of Abstraction) 269 Bibliography 274 About the author 276 Index 278 Sixteenth-century Art Features A Remarkable Fascination With Ornament, Both As Decorative Device And Compositional Strategy, Across Artistic Media And Genres. Interestingly, The Inventive, Elegant Manifestations Of Ornament In The Art Of The Period Often Include Layers Of Disquieting Paradoxes, Creating Tensions - Monstrosities Even - That Manifest Themselves In A Variety Of Ways. In Some Cases Dichotomies (between Order And Chaos, Artificiality And Nature, Rational Logic And Imaginative Creativity, Etc.) May Emerge. Elsewhere, A Sense Of Agitation Undermines Structures Of Statuesque Control Or Erupts Into Wild, Unruly Displays Of Constant Genesis. The Monstrosity Of Ornament Is Brought Into Play Through Strategies Of Hybridity And Metamorphosis, Or By The Handling Of Scale, Proportion, And Space In Ambiguous And Discomforting Ways That Break With The Laws Of Physical Reality. An Interest In Strange Exaggeration And Curious Artifice Allows For Such Colossal Ornamental Attitude To Thrive Within Sixteenth-century Art. Early modern art features a remarkable fascination with ornament, both as decorative device and compositional strategy, across artistic media and genres.0Interestingly, the inventive, elegant manifestations of ornament in the art of the period often include layers of disquieting paradoxes, creating tensions - monstrosities even - that manifest themselves in a variety of ways. In some cases, dichotomies (between order and chaos, artificiality and nature, rational logic and imaginative creativity, etc.) may emerge. Elsewhere, a sense of agitation undermines structures of statuesque control or erupts into wild, unruly displays of constant genesis.0The monstrosity of ornament is brought into play through strategies of hybridity and metamorphosis, or by the handling of scale, proportion, and space in ambiguous and discomforting ways that break with the laws of physical reality. An interest in strange exaggeration and curious artifice allows for such colossal ornamental attitude to thrive within early modern art Early modern art features a remarkable fascination with ornament both as decorative device and compositional strategy across artistic media and genres0Interestingly the inventive elegant manifestations of ornament in the art of the period often include layers of disquieting paradoxes creating tensions monstrosities even that manifest themselves in a variety of ways In some cases dichotomies (between order and chaos artificiality and nature rational logic and imaginative creativity etc may emerge Elsewhere a sense of agitation undermines structures of statuesque control or erupts into wild unruly displays of constant genesis0The monstrosity of ornament is brought into play through strategies of hybridity and metamorphosis or by the handling of scale proportion and space in ambiguous and discomforting ways that break with the laws of physical reality An interest in strange exaggeration and curious artifice allows for such colossal ornamental attitude to thrive within early modern art [4e de couv.] The paradox of ornament and monstrosity launches an array of thought-provoking perspectives on sixteenth-century visual art by targeting its ambiguous artificiality and moments of anxiety.