18 março 2006
Azafrán Cibernético e Púrpura de Sangue Caído na Batalla
Un home roda unha película. Elixe as abas do monte Fuji e ordena alzar un castelo que é destruído á metade do film. O emprazamento elíxese porque a terra negra de orixe vulcánica fai destacar os traxes de cores que vesten os que contenden na batalla, cores heráldicas. A terra negra vai preñada da idea de morte, de destrucción. O caos. O significado da palabra "Ran".Noutra película, o mesmo home manda pintar un campo de dourado. Un cabaleiro agallopa canda ese campo. O traballo de varios días apenas se ve unha fracción de segundo na montaxe final. Ir en pos dese Dourado para albiscalo un minuto e que perviva como un catálogo de raios e cuarcitas nos abismos da memoria.
Dende as escuridades da rocha e do líquido amniótico, homes e mulleres trepan polo branco e negro ata atrapar as cores. A súa procura lévaos a levantar océanos para dar co múrex e vestir aos senadores romanos de púrpura, extraída en vivo deste molusco.
Lévaos a cicatrizar a terra na busca dun silicato cálcico do que obter pigmentos azuis. Os máis estraños. O lapislazúli, chamado ouro azul. A virxe viste de azul nun famoso descendemento pintado.
Lévaos a amorear cunchas no Xapón durante máis de 20 anos para conseguir o "gofun", un pigmento branco que escorrenta o mal.
Lévaos a pulverizar ata o noxo miles de cochinillas para pintarse os beizos co valioso carmín. Hai unhas bonecas, as "hina", que no Día xaponés das Nenas levan cochinillas de medio século de antigüidade esmagadas nos labres.
Lévaos a rexistrar en propiedade un ton de rosa, como fixo a empresa Owes Corning en 1985.
Lévaos a machacar 14.000 estigmas de azafrán para obter 30 gramos de especia que servir ao rei Salomón ou esparexer polo chan dunha casa en festa.
Lévaos a mesturar residuos da terra e resinas ata dar coas sinuosidades da tinta negra.
Policromía. Os frescos de Creta. Os rostros dos mandrís. As bolboretas. As avésporas. Os sinais de perigo. As imaxes en branco e negro, xa para sempre asociadas a unha época da historia do século XX (2ª Guerra Mundial, falcóns malteses, metrópoles, chaplins, rosebuds). As misteriosas alteracións das cores. Os privilexiados daltónicos. Os Davids Bowies, cos ollos desparellos. Os estudios de Helen Irlen, que aseguran que un home pode corrixir as súas distorsións visuais -que lle farían estamparse contra a mediana na feliz autoestrada Coruña-Carballo, poñamos por caso- cun par de lentes azuis.
Esa muller, Irlen, avanza a idea de que moitas das dislexias e trastornos oculares poden paliarse co uso de lentes de cores. Iso faime lembrar o cromático libro O marabilloso Mago de Oz, no que os protagonistas chegan a cidade de Oz e son provistos de gafas verdes coas que, oh, milagre, veno todo verde. A esperanza dos personaxes de deixar de seren quen son. De deixar de verse como se ven...
Disque as mulleres (e supoño que os pintores) son as artífices de toda esa colección de apelidos e novos nomes para as cores: camel, marfín, rosa pao, azul cobalto, gris antracita, burdeos, lila, tostado, escarlata, marelo ovo, celeste, siena, verde esmeralda, ouro vello... Os productos cosméticos dan sempre novas voltas de torca: Ciruela Cibernética, Luna Techno, Crema de Leite, Vermello Diva... Dende as imprentas e a dixitalización, sen embargo, chega unha nova nomenclatura que suple a clásica de cores primarios: Cyan-Magenta-Yellow-Black (CMYK). Moitos productos de uso cotián levan unha marca de catro circuliños nesa restra de cores. A caixa dos cereais, por exemplo, nunha das solapas.
Eu como humana, a cuxa raza pertenzo, atesouro lembranzas de cores. Unha das máis prezadas é o catálogo de cores da fábrica para a que traballaba a miña nai. Tamén os nomes das cores da caixa de pasteis Rembrandt, do meu irmán (Prussian blue, Mars violet, Caput mortuum). E as inusuais cores predilectas da miña nai: o granate, o malva, o azul mariño, o violeta...
De nena tiñamos un coche marelo intenso. A marela era a cor que eu prefería.
Tamén me gustaba un conto no que o personaxe vestía de vermello cereixa.
A palabra azafrán significa marelo en persa (safra), aínda que hoxe o azafrán remite a un marelo-laranxa. Laranxa, outra cor curiosa, que non tivo nome ata que chegaron os froitos da China.
A atracción dos nomes das cores é enorme. Non sei cómo, pero psicoloxicamente aféctanos que unha barra de labres diga: China Red.
Ou que un coche ou ata un gato sexan Gris Fume. Ou que un ton de pel sexa Ébano, Bronce ou Melocotón. Kieslowski realizou unha famosa e logo denostada e logo outra vez louvada triloxía de cores: Azul-Branco-Vermello. Seguía as cores da bandeira francesa e, álén diso, os símbolos da Revolución de 1789. Tamén somos afectados acusticamente: as escalas cromáticas, por exemplo. Como cantaba María Callas. Sempre medio ton entre unha nota e a seguinte, coma se descendésemos por unha caixa de moitos rotuladores ordenados meticulosamente por cores...
Esta páxina ten o fondo vainilla, por se a algúen lle interesa. Non é que me disguste o branco nuclear. En absoluto. Pero o vainilla é un ton máis untuoso. Como a manteiga.
Déixoo xa. Estou ruborizada de tanto dicir.
Datos de interese: o vermello sae da páxina, segundo din os deseñadores.
Os exipcios tinxían o pelo con sangue fervido de vaca. Ou con graxa de serpe negra.
Para Rimbaud o A era negro, E branco, I vermello, U verde e U azul. Non estou de todo de acordo.
O compositor francés Olivier Messiaen di: Un dos grandes dramas da miña vida consiste en dicirlle á xente que vexo cores cando escoito música, i eles non ven nada, nada en absoluto. Iso é terrible. I eles non me cren
Sei Shonagon, cortesá xaponesa do século X, enumera entre as cousas que espertan unha querida memoria do pasado: Malva seca. Descubrir un anaco de seda violeta escuro ou cor uva entre as páxinas dun caderno.
I entre as cousas elegantes: unha chaqueta branca sobre un chaleque morado. Un rosario de cristal de roca. Unha linda criatura comendo fresas.
BSO chroma:
Purple Haze, Jimi Hendrix
Purple Rain, Prince.
Friday, I'm in love, The Cure.
Mother Russia, Renaissance
Black and Blue, Louis Armstrong
Ojos verdes, Concha Piquer
Couleurs de la cité céleste, Olivier Messiaen
Black Dog, Led Zeppelin
Calquera cousa de Pink Floyd
True Blue, Madonna
Yellow Submarine, The Beatles
Ollos verdes son traidores, azules son mentireiros... Popular Galega
©estíbaliz...espinosa
Marcadores: Materia Grigia
posté par estibaliz... 4:46 PM
8 Comments:
Cinnamon girl - Neil Young
Blue in green - Miles Davis
Deep black - The Smithereens
...
Blue in green - Miles Davis
Deep black - The Smithereens
...
viva la sinestesia, señorita estíbaliz.
yo aparto como banda sonora cromática
cualquier composición de mi amigo rimski, sujeto del que se decía que era sinestésico
y
angelitos negros, del gran machin.
yo aparto como banda sonora cromática
cualquier composición de mi amigo rimski, sujeto del que se decía que era sinestésico
y
angelitos negros, del gran machin.
Renaissance Women
Isabella d'Este
1474-1539
"First Lady of the Renaissance"
--------------------------------------------------------------------------------
INTRODUCTION
In the Renaissance times a Renaissance Woman was supposed to marry well, be loyal to her husband and give birth to boys. A Renaissance Man, on the other hand, had to be well-educated, have cultural grace, be a gentleman and understand the arts and sciences. He also had to have refinement, be of noble birth and have courage. Many women did not fit the mold of what they called a "Renaissance Woman." Many of them would fit in as more of a "Renaissance Man" or what we would call a "Renaissance Woman" in our day and age.
A prime example of this exception is Isabella d'Este.
BACKGROUND
Isabella d'Este was born in 1474 into the ruling family of Ferra. At the age of sixteen Isabella married Francesco Gonzaga. She then became the Marchioness of Mantua because Francesco was the Prince.
After the death of her husband, Isabella ruled Mantua alone. Isabella's father believed in the equality of men and women and so Isabella and her siblings were very well-educated. Isabella died at the age of sixty-four in 1539.
ACCOMPLISHMENTS
At the age of sixteen, Isabella d'Este was able to speak Greek and Latin as well as play the lute, sing, dance and debate with people much older than her. She was very well-educated and her political talent benefited Mantua while she was ruling. When her husband left, Isabella governed the city on her own, and after he died she took over his whole job. She showed great leadership skills in 1509 when she became Chief of State in Mantua.
At this time she also founded a school for young women where they had to observe a strict code of morals. She was a patron of the Arts and she also set artistic fashions and standards. Isabella collected many paintings and statues. She also wrote over two thousand letters and in these she commented on everything from politics to war. That was the closest that any woman at that time ever got to writing history.
IMPACT
Isabella patronized and promoted the arts. She allowed writers, artists and poets to exchange their ideas in her home. While she was ruling, she set an example for women to break away from the traditional role of what women were supposed to be like. By doing this and many other things she was known as the "First Lady of the Renaissance."
--------------------------------------------------------------------------------
Another exception to this rule was Catherine de Medici.
--------------------------------------------------------------------------------
Catherine de Medici
1519-1589
BACKGROUND
Catherine de Medici was born in Florence, Italy, 1519. She had a very troubled childhood. At only the young age of one, both of Catherine's parents died from a disease. The nuns where she lived, trained and disciplined her and as she grew older she became very well-educated. Catherine filled her library with numerous rare manuscripts. In 1533 her uncle, the Pope, arranged her marriage. For the first ten years of her marriage, Catherine was unable to produce children but finally she was able to. At the age of ten, one of her children became the King of France so she became the King's Regent, which enabled her to be Queen Regent. In January of the year,1589, Catherine died at the age of seventy.
ACCOMPLISHMENTS
Catherine de Medici was a major force in French politics, especially during the thirty years of the Roman Catholic-Huguenot wars. She ruled as a regent to her son and when he reached majority in 1563, Catherine dominated him.
Catherine was a Roman Catholic but when trying to create a balance with religions she sometimes agreed with the Huguenots. By doing this she created a policy of peace between the Catholics and the Protestants.
Under her influence, three of Catherine's sons became kings and she also arranged for her daughter to be married to the King of Spain in 1560.
Catherine had a great interest in architecture and she demonstrated this with her authority over the building of the new wing of the Louvre Museum, the construction of the Tuilleries Gardens, and the building of the Chateau Monceau.
IMPACT
Catherine de Medici was a great patron of the arts. In being this she helped the Renaissance flourish.
Isabella d'Este and Catherine de Medici had some female qualities that people of that era believed were necessary, but are also examples of what we call true "Renaissance Women."
Isabella d'Este
1474-1539
"First Lady of the Renaissance"
--------------------------------------------------------------------------------
INTRODUCTION
In the Renaissance times a Renaissance Woman was supposed to marry well, be loyal to her husband and give birth to boys. A Renaissance Man, on the other hand, had to be well-educated, have cultural grace, be a gentleman and understand the arts and sciences. He also had to have refinement, be of noble birth and have courage. Many women did not fit the mold of what they called a "Renaissance Woman." Many of them would fit in as more of a "Renaissance Man" or what we would call a "Renaissance Woman" in our day and age.
A prime example of this exception is Isabella d'Este.
BACKGROUND
Isabella d'Este was born in 1474 into the ruling family of Ferra. At the age of sixteen Isabella married Francesco Gonzaga. She then became the Marchioness of Mantua because Francesco was the Prince.
After the death of her husband, Isabella ruled Mantua alone. Isabella's father believed in the equality of men and women and so Isabella and her siblings were very well-educated. Isabella died at the age of sixty-four in 1539.
ACCOMPLISHMENTS
At the age of sixteen, Isabella d'Este was able to speak Greek and Latin as well as play the lute, sing, dance and debate with people much older than her. She was very well-educated and her political talent benefited Mantua while she was ruling. When her husband left, Isabella governed the city on her own, and after he died she took over his whole job. She showed great leadership skills in 1509 when she became Chief of State in Mantua.
At this time she also founded a school for young women where they had to observe a strict code of morals. She was a patron of the Arts and she also set artistic fashions and standards. Isabella collected many paintings and statues. She also wrote over two thousand letters and in these she commented on everything from politics to war. That was the closest that any woman at that time ever got to writing history.
IMPACT
Isabella patronized and promoted the arts. She allowed writers, artists and poets to exchange their ideas in her home. While she was ruling, she set an example for women to break away from the traditional role of what women were supposed to be like. By doing this and many other things she was known as the "First Lady of the Renaissance."
--------------------------------------------------------------------------------
Another exception to this rule was Catherine de Medici.
--------------------------------------------------------------------------------
Catherine de Medici
1519-1589
BACKGROUND
Catherine de Medici was born in Florence, Italy, 1519. She had a very troubled childhood. At only the young age of one, both of Catherine's parents died from a disease. The nuns where she lived, trained and disciplined her and as she grew older she became very well-educated. Catherine filled her library with numerous rare manuscripts. In 1533 her uncle, the Pope, arranged her marriage. For the first ten years of her marriage, Catherine was unable to produce children but finally she was able to. At the age of ten, one of her children became the King of France so she became the King's Regent, which enabled her to be Queen Regent. In January of the year,1589, Catherine died at the age of seventy.
ACCOMPLISHMENTS
Catherine de Medici was a major force in French politics, especially during the thirty years of the Roman Catholic-Huguenot wars. She ruled as a regent to her son and when he reached majority in 1563, Catherine dominated him.
Catherine was a Roman Catholic but when trying to create a balance with religions she sometimes agreed with the Huguenots. By doing this she created a policy of peace between the Catholics and the Protestants.
Under her influence, three of Catherine's sons became kings and she also arranged for her daughter to be married to the King of Spain in 1560.
Catherine had a great interest in architecture and she demonstrated this with her authority over the building of the new wing of the Louvre Museum, the construction of the Tuilleries Gardens, and the building of the Chateau Monceau.
IMPACT
Catherine de Medici was a great patron of the arts. In being this she helped the Renaissance flourish.
Isabella d'Este and Catherine de Medici had some female qualities that people of that era believed were necessary, but are also examples of what we call true "Renaissance Women."
Catalina e Isabella, qué mulleres tan interesantes.
Por que elixirían unha páxina como esta? Só porque escribín Rennaissance no post?
Enigmáticas. Hipnóticas. Mortas.
Por que elixirían unha páxina como esta? Só porque escribín Rennaissance no post?
Enigmáticas. Hipnóticas. Mortas.
" precisaba suspiros e unha paixón desenfrenada e BRANCA.../
eu era sempre máis fluida que Heráclito,/
e miraba pasar a Heráclito montado na balsa de plástico/
AZUL/
que merquei no verán cando as olas
ían e viñan/
e eu ía e viña sempre/
e todo era como un río,/
moito mellor que un río/
Escribía un poema para cada momento do día,/
un para cada cor/
para cada paisaxe/
para todos os intres
GRISES,/
VERMELLOS como os días de Audrey (Breakfast at Tinfani's)/
ou eminentemente VERDES/
como cando estou espida e mollada/
na praia grande de area AMARELA/
a praia grande alfombrada de corpos de cor CHOCOLATE despregados ao sol..."
eu era sempre máis fluida que Heráclito,/
e miraba pasar a Heráclito montado na balsa de plástico/
AZUL/
que merquei no verán cando as olas
ían e viñan/
e eu ía e viña sempre/
e todo era como un río,/
moito mellor que un río/
Escribía un poema para cada momento do día,/
un para cada cor/
para cada paisaxe/
para todos os intres
GRISES,/
VERMELLOS como os días de Audrey (Breakfast at Tinfani's)/
ou eminentemente VERDES/
como cando estou espida e mollada/
na praia grande de area AMARELA/
a praia grande alfombrada de corpos de cor CHOCOLATE despregados ao sol..."
Ana, encántame a túa selección musical. Non sei se o teu amigo Rimsky é o mesmo que levaba o outro apelido de Kórsakov. Se é ese, paréceme do máis sublime e peliculeiro. Peliculeiro no sentido de sublime, dende logo...
E, sen dúbida, que tenros os angelitos de Machín!
Reverencias...
E, sen dúbida, que tenros os angelitos de Machín!
Reverencias...
traes ráfagas siniestras a pesar de hablar de los colores y su simbolismo.
Eres como un robot extraño.
Eres como un robot extraño.
This is very interesting site... »