american&vietnamese poetry, music, art and activities * the language marches in step with the executioners. therefore we must get a new language * tomas transtromer * ngôn ngữ đi chung nhịp bước với đao phủ thủ. do đó chúng ta phải có một ngữ ngôn tinh mới.
Sep 19, 2014
phúng dụ tình yêu & thời gian
Bronzino, Venus, Cupid, Folly, and Time, c. 1545 Oil on panel, 5 ft 1 in x 4 ft 8 3/4 in (London, National Gallery of Art)
Venus and her son Cupid are easily recognizable as the two figures in the left foreground. Both are nude, and bathed in a white light that creates a porcelain skin texture. Cupid fondles his mother's breast and kisses her lips. To the right, a nude putto with a lascivious expression dances forward and scatters flowers.
All three twist in the Mannerist "figura serpentinata" (a 'serpentine' or spiralling) pose. But only the putto's pose seems required by his action. The undulating forms of Venus and Cupid are rendered for their own sake rather than to serve narrative logic. Bald, bearded Time at the upper right, assisted by Truth (or is it Deceit?) at the upper left, draws aside a curtain to reveal the incestuous transgressions of Venus and the adolescent Cupid, pelted with rose petals by a laughing boy (Folly). At the lower left are Venus' doves.
The identity of the remaining figures is less certain. The old hag tearing her own hair has been called Envy (or Jealousy), and the creature behind the putto at the right, with a girl's face but whose body ends in the legs of a lion and a scaly serpent's tail and who extends a honeycomb with her left hand attached to her right arm, has been identified as Fraud (or is she Deceit? or perhaps Pleasure?). There is, however, no consensus on their identification.