Abstract
The problem of reception of the antiquity through tapestries in the Russian historiography was considered. Using as an example the Flemish tapestries of the 15th–16th centuries from the Collection of the State Hermitage Museum, the transformation and popularity of ancient motifs in this art form were demonstrated, as well as their special role in the propaganda of power, high social status, and wealth. The following main elements of tapestries were analyzed: subjects, characters, costumes, and Latin banderoles. The methodology of tapestry analysis is similar to the one used by structuralists: an additional link (customer) is introduced in the author – text – reader research field. The subjects of the tapestries were compared with the plots of the corresponding ancient literary sources. As a result, it was concluded about different perception of the antiquity in the literature and fine arts. Tapestries reflect the attitude of customers to the political reality of that time. The Northern Renaissance and how it was influenced by the ideas of humanists embodied in the tapestries was discussed.
Highlights
The methodology of tapestry analysis is similar to the one used by structuralists: an additional link is introduced in the author – text – reader research field
The subjects of the tapestries were compared with the plots of the corresponding ancient literary sources
It was concluded about different perception of the antiquity in the literature and fine arts
Summary
В статье предпринимается попытка впервые в отечественной историографии исследовать вопрос рецепции античности в изображениях на шпалерах и показать на примере фламандских шпалер XV ‒ XVI вв. При анализе шпалер как дорогостоящего произведения искусства предполагается учитывать роль заказчика, который привносил в сюжеты свои вкусы и смыслы. В этой конструкции заказчики ‒ богатые покровители искусства Возрождения, авторы ‒ создатели картона для шпалеры и ткачи, текст ‒ шпалера и то, что на ней изображено, читатели ‒ те, кому работа предназначалась, и все, кто ее видел.
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