极限集邮网

标题: 耶罗尼米斯·博斯（荷蘭語：Jheronimus Bosch) 逝世（1516年8月9日）500周年纪念 [打印本页]

作者: ngsunyu 时间: 2020-4-18 00:10
标题: 耶罗尼米斯·博斯（荷蘭語：Jheronimus Bosch) 逝世（1516年8月9日）500周年纪念
本帖最后由 ngsunyu 于 2020-4-18 00:12 编辑

耶罗尼米斯·博斯（Hieronymus Bosch，荷蘭語：Jheronimus Bosch），1452年－1516年8月，原名耶罗恩·安东尼松·范·阿肯（Jeroen Anthoniszoon van Aken），意思是「亞琛來的人」。他在一部份畫作上署名Bosch（荷蘭文，音近英文Boss），取自他的出生地斯海爾托亨博斯 (荷蘭語：S'Hertogenbosch)。在西班牙文中他則多被稱為 El Bosco。

博斯是一位十五至十六世紀的多產荷蘭畫家。他多數的畫作多在描繪罪惡與人類道德的沉淪。博斯以惡魔、半人半獸甚至是機械的形象來表現人的邪惡。他的圖畫複雜，有高度的原創性、想像力，並大量使用各式的象徵與符號，其中有些甚至在他的時代中也非常晦澀難解。博斯被認為是20世紀的超現實主義的啟發者之一。

博斯從未在畫作上註明日期，也僅在部分作品上簽名（某些簽名則被認為並非本人）；總括來說，目前確認出自博斯之手的畫作，僅有25幅。西班牙國王腓力二世在博斯死後收藏了他的大部分作品，因此目前西班牙馬德里的普拉多美術館收藏了博斯最多的作品，包括《人間樂園》。

稍晚期的弗拉芒畫家老彼得·布呂赫爾受博斯影響，其作品風格與博斯相當近似，如1562年之《死亡的勝利》。(zh.wikipedia.org/耶罗尼米斯·博斯)

Hieronymus Bosch, in a c. 1550 drawing once thought to be a copy of a self-portrait. His age in this representation (believed to be around 60 years) has been used to estimate his date of birth, although its attribution remains uncertain. (en.wikipedia.org/The_Garden_of_Earthly_Delights)

Jheronimus Bosch—Visions of Genius (Dutch: Jheronimus Bosch - Visioenen van een genie) was a 2016 art exhibition (13 February until 8 May 2016) at the Noordbrabants Museum in 's-Hertogenbosch, The Netherlands, about the work of Hieronymus Bosch, a native of 's-Hertogenbosch.

Seventeen of the world's known Bosch paintings were on display in the exhibition, along with 19 drawings. The Telegraph described the work of curator Charles de Mooij in gathering them as "a feat of stamina and silver-tongued curatorial cunning."
The exhibition presented Bosch as "a great realist" highlighting the realistically-painted detail in his surreal paintings, backdating the Renaissance in the process since Bosch painted half a century before Vasari published.
The years of intensive research by the Bosch Research and Conservation Project that preceded the exhibition, led scholars to demote two paintings belonging to the Prado, The Cure of Folly and The Temptation of St. Anthony. Long thought to be by Bosch, they are now regarded as having been painted by followers or by artists in Bosch's workshop.
However, as a result of the research, the small Temptation of St. Anthony belonging to the Nelson-Atkins Museum of Art in Kansas City, Missouri, long thought to have been painted by a follower, is now regarded as the work of Bosch's own hand.
A documentary film based on constructing this show was made in 2016. It is titled Hieronymus Bosch, Touched by the Devil. (en.wikipedia.org/Jheronimus Bosch—Visns of Genius)

下文将继续介绍荷兰朋友利用 2016年或之前发行的邮票 (包括斯海尔托亨博斯邮政发行的个人邮票), 盖上 2016年特戳的
极限明信片。本文将永远纪念我们心爱的荷兰极限家。

3DF5F78F-5776-417B-8DE7-18D9B2DBB554.jpeg (148.7 KB, 下载次数: 50)

D0448818-7E96-4CD0-A7BB-62398572DE0B.jpeg (125.14 KB, 下载次数: 60)

作者: jamestang 时间: 2020-4-18 00:51
Ronald制作的荷兰极限片品质上乘，惊悉他因新冠肺炎去世，实在是极限届的一大损失。

作者: ngsunyu 时间: 2020-4-18 02:28
本帖最后由 ngsunyu 于 2020-5-9 23:17 编辑

jamestang 发表于 2020-4-18 00:51
Ronald制作的荷兰极限片品质上乘，惊悉他因新冠肺炎去世，实在是极限届的一大损失。

Ronald’s contributions are many:

Realization of Dutch maximum cards will be his legacy. Lector, si monumentum requiris, circumspice. 读者，如果你寻求他的纪念碑，请环顾四周。
Philaromax.nl will be his legacy too.
Winning 2004 best maximum card competition. 请参考WORLD BEST MAXIMUM CARD COMPETITION (世界最佳极限片评选)第 2 楼。
Winning 2015 best maximum card competition. 请参考追寻极限明信片中荷兰名胜古迹与艺术杰作的足迹第50 楼。
Winning 2017 European challenge for Dutch team as score leader.
Discovering earliest triple cancellation.
Informing Delcampe to shutdown many forger-associated accounts. 请参考西班牙籍问题戳制造商重现拍卖网 (peste española) 第187楼。
Please suggest more, in case of my oversight.

F45BF632-8082-400A-BA44-50B85DFE2826.jpeg (113.6 KB, 下载次数: 51)

DA42DBFB-2318-4191-944B-39F7847A6112.jpeg (149.46 KB, 下载次数: 49)

FEEBDF71-1F00-4818-9A73-D6F2EBA46D64.jpeg (77 KB, 下载次数: 62)

5B085548-49F9-46A4-9729-BF9D8161C2F8.jpeg (234.79 KB, 下载次数: 50)

作者: 杨鸣 时间: 2020-4-18 08:20
照片上哪一个是制作者？

作者: ngsunyu 时间: 2020-4-18 09:41
本帖最后由 ngsunyu 于 2020-4-18 09:49 编辑

杨鸣发表于 2020-4-18 08:20
照片上哪一个是制作者？

两枚照片中的同一人。上图是颁奖晚宴。下图是领奖。高个子。不打领带。

作者: ngsunyu 时间: 2020-4-19 01:10
本帖最后由 ngsunyu 于 2020-4-19 01:28 编辑

耶罗尼米斯·博斯的《圣葉理諾》绘于約1485年。收藏於根特美术博物馆（Museum voor Schone Kunsten）。

As Hieronymus Bosch’s namesake, St Jerome occupies a significant place in his work. He represented him on several occasions. The artist considered the saint a role model, both as a scholar and because of his relentless moralism and his personal dedication. St Jerome lived in the 4th century and was one of the four great Latin fathers of the Church. At the age of thirty-eight, he retired from public life in Rome to lead an ascetic life in Palestine. In the painting, the half-clothed saint is absorbed in prayer, prostrate among exotic plants, tree trunks and rocks. Here his attribute, the lion, is represented as a small domestic animal. According to legend, Jerome extracted a thorn from an injured lion’s paw, which earned him the creature’s gratitude and friendship. Many other animals populate the strange world in which the saint has withdrawn.\nThe painting was thoroughly restored and analysed using various scientific techniques in 2015–2016. The painting technique, the style, the material used for the underpainting and the traces of the creative process, in every step of the execution, have allowed the scientists to date this painting as a central work in Bosch’s output. He painted the work single-handedly, without any help from his assistants. The original frame was lost and the panel has been cut slightly to size at the top and bottom. Dendrochronological analysis indicated that the painting was finished after 1485 and before 1495. (mskgent.be)

St. Jerome was a frequent subject of 15th century European art, depicted in his studio or during his penitence in the desert. Bosch for this picture adopted the latter iconography, although his saint is prone instead of kneeling. He is praying with a crucifix in his arms, also an unusual gesture of communion with Christ.

Jerome lies on a rock located under a kind of shell-like cave. He is surrounded by his traditional symbols (the lion - although in this case it has a smaller size than usual - the galero, the Bible), but Bosch, as common in his works, also added some bizarre elements, such as the bony pig or the spherical shell emerging from the pool . This could symbolize the world floating towards decay.

An owl and little owl are depicted on a branch: they allude, respectively, to heresy and the struggle against heresy. The Ten Commandments tables can be seen above the cave. The landscape is wide, in green tones. (en.wikipedia.org/wiki/St._Jerome_at_Prayer_(Bosch)

73B54AF2-2B60-4FA4-9537-978346E56E04.jpeg (161.03 KB, 下载次数: 60)

F684300E-BD98-47CE-A40E-C4057445752F.jpeg (182.64 KB, 下载次数: 48)

77920C56-6BB8-42AF-A7F5-9AF47C479EC5.jpeg (264.72 KB, 下载次数: 49)

E4C36DBC-762B-40CC-8894-4CF70E2823B6.jpeg (210.01 KB, 下载次数: 52)

88EE8563-C6E8-4CC3-B768-D970D43EA176.jpeg (173.58 KB, 下载次数: 50)

作者: ngsunyu 时间: 2020-4-19 03:39
本帖最后由 ngsunyu 于 2020-4-21 09:17 编辑

耶罗尼米斯·博斯的《拔摩島的圣約翰》绘于約1489年。收藏於柏林畫廊（Gemäldegalerie）。居然找到2010年的柏林画廊照片!

拔摩島的約翰（英語：John of Patmos），新約聖經中《啟示錄》的作者，根據《啟示錄》記載，他居住在希臘的拔摩島上。傳統上，主要的基督教會都相信他就是十二使徒中的約翰，也就是寫作《約翰福音》的福音書作者約翰。但是根據古代文獻，現代學者提出他跟約翰有可能是不同的人。
基督教會又稱他為聖者約翰（John the Divine）、啟示者約翰（John the Revelator）、神學家約翰（John the Theologian）、拔摩島之鷹（Eagle of Patmos）或先知約翰（John the Seer）。 (zh.wikipedia.org/wiki/拔摩島的約翰)

St. John on Patmos is a painting by Hieronymus Bosch. The painting is currently in the Gemäldegalerie, in Berlin, Germany. (en.wikipedia.org/wiki/St._John_the_Evangelist_on_Patmos)

6223CF01-81DD-48FB-AF18-1CE476F7374F.jpeg (182.93 KB, 下载次数: 66)

AD579D29-B2D0-40D9-9996-5709923D9ED1.jpeg (182.64 KB, 下载次数: 63)

0C8BA286-BEDF-4067-9AE2-B71D6929A31F.jpeg (129.71 KB, 下载次数: 49)

D80BE410-047D-4A41-9C7A-A4A39A0EFACF.jpeg (222.63 KB, 下载次数: 51)

C9AB77C4-06E1-45B6-9312-A6E7E8E86AE1.jpeg (62.2 KB, 下载次数: 49)

作者: ngsunyu 时间: 2020-8-16 00:03
本帖最后由 ngsunyu 于 2020-8-16 00:08 编辑

耶罗尼米斯·博斯的《東方三賢者的朝拜, Triptych of the Adoration of the Magi》绘于約1494年，现藏于西班牙馬德里的普拉多美术馆 (Museo del Prado)。

The theme of this triptych is the advent of salvation -a message about the universality of Redemption. The Eucharistic meaning inherent in the theme of Saint Gregory’s Mass is also found in The Adoration of the Magi in the wheat stored in the upper part of the hut, above the figure of the Antichrist. Unusually, Bosch includes in his depiction of the Mass of Saint Gregory in semi-grisaille seven Passion scenes, culminating in the upper part with the Crucifixion on Mount Calvary, marking the consummation of the Redemption. Bosch arranges these scenes in tiers in the manner of an altarpiece, on either side of the risen Christ. From bottom to top and left to right, they represent: the Agony in the Garden, Christ’s Arrest, Christ before Pilate(whose wife peers out from behind the canopy), the Flagellation, the Crowning with Thorns, the Way to Calvaryand the Crucifixion. The last scene -Christ on the cross and five accompanying figures, separated from the rest- is painted on the frame. The Good Thief is already on the cross on the Redeemer’s right, with an angel beside him, while the Bad Thief waits for his cross to be erected on Christ’s left. Nearby Judas can be seen hanging from a tree, as demons carry away his soul. Another unusual feature is the nine angels who surround the figure of Christ as the Man of Sorrows emerging from the sarcophagus, also painted on the frame. Nor is it common to find curtains separating the background figures on either side from those in the foreground where the miracle occurs -the pope and the priest who assists him at the Mass and the donors who receive the fruits of Redemption. Boschadded these curtains during the final stage of execution, painting them over the already completed figures. Although scholars have wished to believe that he added the donors some time after completing the work, the technical studies prove that he painted donors and work at the same time.

The open triptych shows Mary holding Jesus on her lap in a manner that recalls the works of Jan van Eyck (c. 1390-1441). The left wing shows Peeter Scheyfve protected by Saint Peterand with his motto Een voert al (One for all) and the right wing features his second wife Agneese de Gramme protected by Saint Agnes. A further two donors are included on the reverse, which depicts the Mass of Saint Gregory in semi-grisaille. The young man is the patrons’ son Jan Scheyfve and the old man is probably Peeter’s father Claus Scheyfve, who died before 1495, members of Antwerp’s wealthy burgher class.

The Magi’s gifts and clothing are decorated with the Old Testament scenes that prefigure the Adoration of the Magi in the Biblia pauperum. Boschdemonstrates his painting skills in the opulence of the Magi’s robes and offerings -in the sumptuous of the materials and his masterly application of highlights in brushstrokes so fine that they appear to be drawn, for example in the scene of the Sacrifice of Isaac on one of the gifts. The gift the first Magushas placed at the Virgin’s feet, beside his sumptuous helmet, is a table ornament made of gold and pearls. It is decorated with a scene of Sacrifice of Isaac, which prefigures that of Christhimself on the cross; this idea is reinforced by the fact that it rests on toads, which allude to sin. The upper part of the metal cloak worn by the second Magus, who offers the Child myrrh on a silver tray, is decorated with one the themes that the Biblia pauperum associates with the Adoration of the Magi, the Queen of Sheba presenting her gifts to Solomon (1 Kings 10: 1-13). Depicted below this scene is the offering made by Manoah and his wife after God’s announcement that they will have a son, Samson (Judges 13: 19-23), which likewise prefigures the birth of Christ. The third Magus’s gift, which he holds, is a spherical vessel containing incense. It is decorated with Abnerkneeling before King David offering to instruct the tribes of northern Israel to join those of the kingdom of Judah (2 Samuel 3: 10) -a scene which prefigures the Adoration of the Magi in the Biblia pauperum along with that of the Queen of Sheba. The phoenix perched on the vessel, gathering grain in its beak, evokes the Resurrection of Christ. It should be stressed in connection with this third Magus that, in addition to the border of his white cloak, the thistle leaves adorning the shoulders and neck allude to the Passion of Christ and, accordingly, the Redemption. Also worthy of note is the border along the lower edge of the black page’s tunic, which displays the motif of big fish eating little fish. Painted on without underdrawing, it should be interpreted in the context of the salvation theme that pervades the whole triptych. The Antichrist at the entrance to the stable -which resembles a Brabantian hut- wears a cloak that barely covers his body and beneath it a transparent veil. Proof of the evil nature of this figure is the owl concealed above him in the upper part of the hayloft gazing at the dead mouse that has become its prey. His evil appearance is emphasized by the people beside him inside the hut, among them a woman reminiscent of Leonardo’s caricatures in a headdress like those of some of the demons Bosch painted, whose deformed features take on a hideous expression. The six shepherds on the far right, who traditionally represent the Jewish people, complete the scene of the Adoration of the Child. On the left of the background landscape behind the hut, Bosch painted a house whose flag with a swan and the dovecote above identify it as a brothel. A man pulling a tethered horse ridden by a monkey, an allusion to lust, is heading in its direction. Lower down two armies of men on horseback, deployed on the left and right, ride towards each other. On the basis of their oriental headdresses they have been identified as Herod’s soldiers seeking out Jesus to kill him. The city silhouetted against the clouds in the background is Bethlehem. Although here the painter is carried away by his imagination and his buildings have an oriental appearance, there is also a windmill outside its walls, and beside it a third group of horsemen.

The underdrawing, executed with a brush and a liquid medium, shows that Bosch made a few changes and alterations to the position and contours of some elements when he painted his masterpiece. In general, he used long, thin, light strokes to sketch the main elements of the composition, though some are thicker. In the areas with modelling and in some details his strokes are shorter, but always adapted to the size of the motif. The folds of the drapes are drawn with long strokes in a less intense colour. Creases and areas of shadow were often further accentuated during the paint stage.

Silva, Pilar, 'El Bosco. Tríptico de la Adoración de los Magos' En:. El Bosco. La exposición del V Centenario, Madrid, Museo Nacional del Prado, 2016, p.n.10 195-207 (museodelprado.es)

《東方三賢者的朝拜》是早期荷兰大师耶罗尼米斯·博斯在他三十九岁至四十九岁之间（即公元1489年至1499年之间）在橡木板上绘制的三联油画作品。博斯從未在畫作上註明日期，也僅在部分作品上簽名（某些簽名則被認為並非本人）；總括來說，目前確認出自博斯之手的畫作，僅有25幅。西班牙國王腓力二世在博斯死後收藏了他的大部分作品，因此目前西班牙馬德里的普拉多美術館收藏了博斯最多的作品，包括《東方三賢者的朝拜》。 (en.wikipedia.org/ Adoration of the Magi (Bosch, Madrid)

2DCA12D8-C4F8-4389-BE3B-6CFE4E7E6C12.jpeg (227.96 KB, 下载次数: 40)

2D84873A-6BCA-42A5-BB8D-F3C916D7A421.jpeg (295.55 KB, 下载次数: 41)

作者: ngsunyu 时间: 2020-8-16 15:26
本帖最后由 ngsunyu 于 2020-8-16 15:30 编辑

耶罗尼米斯·博斯的《圣克里斯托弗, 荷蘭語：De heilige Christoforus》绘于約1500年，现藏于博伊曼斯·范伯宁恩美术馆 (Museum Boijmans Van Beuningen)。

傳說中克里斯托弗本名為雷波布 (Reprobus)，他是一名孔武有力的巨人，他立誓要服務世上最強大的君王。他先後找過迦南王，之後找魔鬼。當他發現魔鬼怕十字架後，他就認定耶穌是最強大的君王。由於他不適應隱修者的生活，於是改以在河邊幫助他人渡河，以背負他人渡河作為他服務耶穌的方法。
有一日一名兒童請求雷波布幫助他渡河，雷波布卻赫然發現那個小孩子竟然重到他幾乎背不動。在艱難的過河後他向小孩子說「你重到讓我有如世界被揹在我肩上」，而小孩子則回應「你背負的不只是全世界，還包含它的造者。我就是基督，你的君王」。基督为巨人雷波布洗礼，他成为旅行者的守护神。自此雷波布就改名為克里斯托弗，意為背負基督者。 (zh.wikipedia.org/wiki/聖克里斯多福)

In an extensive landscape dotted with extraordinary scenes, the heathen giant Reprobus carries a child across a river. During the crossing the child becomes unbearably heavy. It is Jesus, who bears the weight of the sins of the world. He baptises the giant Christopher (Christ carrier) who becomes the patron saint of travellers. (www.boijmans.nl/en/collection/ar ... ng-the-christ-child)

CE65312C-B1CF-4C1A-B964-4E76F74241F1.jpeg (184.36 KB, 下载次数: 52)

05DF9617-1737-4BFC-82BE-B08A9F422875.jpeg (138.38 KB, 下载次数: 49)

622F470E-9BDA-4CAA-967C-79DC5E143731.jpeg (134.04 KB, 下载次数: 44)

作者: ngsunyu 时间: 2020-8-16 20:50
本帖最后由 ngsunyu 于 2020-8-16 20:55 编辑

耶罗尼米斯·博斯的《流浪汉或小販, 荷蘭語：De Marskramer》绘于約1500年, 现藏于博伊曼斯·范伯宁恩美术馆 (Museum Boijmans Van Beuningen)。

This vagabond or pedlar with mismatched shoes is symbolic of man on his path through life. He is a kind of 'Everyman' a popular late 15th century moral tale. He represents the 'homo viator', the pilgrim who goes through life weighed down by the baggage of his earthly existence. He suffers his lot along a path full of temptations. (www.boijmans.nl/en/collection/artworks/1556/the-pedlar)

It is one of the fragments of a partially lost triptych or diptych, which also included the Allegory of Gluttony and Lust, the Ship of Fools and Death and the Miser.

The figure is similar to the man depicted in The Path of Life panel on the exterior of The Haywain Triptych. The character has been interpreted as choosing between the path of virtue at the gate on the right or debauchery in the house on the left, or as the prodigal son returning home from the world. (en.wikipedia.org/wiki/The_Wayfarer)

FE89C661-6A22-4431-BD7D-5780689E0466.jpeg (163.9 KB, 下载次数: 47)

4A929199-5175-46A0-9248-97AC2D6452AF.jpeg (138.38 KB, 下载次数: 44)

F013614D-9E97-4386-A487-12E99B482CBF.jpeg (112.83 KB, 下载次数: 45)

欢迎光临极限集邮网 (http://chinamaxicard.com/)