-Ðóáðèêè

 -Ìåòêè

99961 a christmas carol annie miller aspecta medusa baron von gloeden beata beatrix birchington bocca baciata burden burn-jones burne-jones camille bonard carlisle wall christina georgina rossetti christina rossetti clark dante gabriel rossetti delahayer dudley gallery edward edward poynter edward robert hughes eleanor fortescue-brickdale elizabeth siddal eugene onegin feet fetish fiammetta francois-joseph navez frank cadogan cowper gabriel charls dante rossetti gg augustus leopold girls goblin market grosvenor gallery hannibal lecter henry david thoreau honesuckle j.r.herbert jane morris john everett millais john inchbold john melhuish strudwick kelmscort manor la pia de' tolomei lady later rossetti lawrence leda mit dem leda mit dem schwan lempica lempicka louis de taeye madox brown maria rossetti mariana marie spartali mary magdalene at the door of simon the pharisee medusa morris naked nude orient goods painting palazzo del padesta pansy pre-raphaelite women robert browning rossetti simeon solomon st. reparata stacy marks study tamara lempicka tasso and leonora the germ the third reich's nu the annunciation the beloved the blessed damozel the maids of elfen-mere the music master the rossetti family the titan's goblet vampyre venus verticordia walter deverell water willow water willow william holman hunt william michael rossetti willian allinham woman in yellow women working men's college Àëèíà àëåêñà âàéëäèíã àííà òèõîìèðîâà àðòóð õüþç á¸ðäåí á¸ðí-äæîíñ áàëåò áåàòðè÷å áîéñ âîçëþáëåííàÿ âûñòàâêè ãàííèáàë ëåêòåð ãåíðè äæîðäæ õîëèäåé ãåíðè òðåôôðè äóí ãîëóáü ãðàíò âóä äàíòå äàíòå ãàáðèýëü ðîññåòòè äæ. êîòìåí äæåéí äæåéí ìîððèñ äæåéí ìîððèñ á¸ðäåí äæîí ìåëõèø ñòðàäâèê äæîí ý́âåðåòò ìèëëǻ äýíèåë ìàêëàéç æèâîïèñü èñêàòåëü èñêóññòâî êàðë òðóïï êåííåò êëàðê êîëåãîâà êîðîëåâà ãâèíåâðà êðèñòèíà ðîññåòòè êýððîëë ëåìïèêà ëåìïèöêà ëåìïèöêàÿ ìàíå ìàðèèíñêèé ìåíàäû ìîððèñ ìóçåè ìóïàêàìè íàãîòà íàñèëèå íîâûé äåòåêòèâ íîâûé ðîìàí íîæêè îáíàæ¸ííàÿ ïèÿ äå òîëîìåè ïîçäíèé ðîññåòòè ïîýçèÿ ðîññåòòè ïðåðàôàýëèòû ïðîçåðïèíà ðèñóþùèé àíãåëà ðîìàí ðîññåòòè ñåêñ ñèääàë ñêóëüïòóðà ñîìîâà ñîöðåàëèçì òî́ìàñ êàðëǻéëü óîòåðõàóç ôàííè êîðíôîðò ôåòèø ôåòèøèçì ôèàìåòòà ôî́ðä ìý́äîêñ áðà́óí ôîòîèñêóññòâî ôðèäåðèê ëåéòîí õàíò õüþç ÷ààäàåâ ýäâàðä ðîáåðò õüþç ýëèçàáåò ñèääàë ýïèãðàô

 -Ïîèñê ïî äíåâíèêó

Ïîèñê ñîîáùåíèé â ëþäàí_êóïîë

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 -Ñîîáùåñòâà

Ó÷àñòíèê ñîîáùåñòâ (Âñåãî â ñïèñêå: 1) Live_Memory

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Ñòàòèñòèêà LiveInternet.ru: ïîêàçàíî êîëè÷åñòâî õèòîâ è ïîñåòèòåëåé
Ñîçäàí: 27.08.2009
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ÏÐÎÇÅÐÏÈÍÀ

Ñóááîòà, 10 Îêòÿáðÿ 2009 ã. 23:24 + â öèòàòíèê

 

 

     Áîãèíÿ Ïåðñåôîíà, ó ðèìëÿí Ïðîçåðïèíà èëè Êîðà ("þíàÿ äåâóøêà"), õîðîøî èçâåñòíà ïî ãîìåðîâñêîìó "Ãèìíó Äåìåòðå", â êîòîðîì îïèñûâàåòñÿ åå ïîõèùåíèå Ãàäåñîì. Åé ïîêëîíÿëèñü è êàê Äåâóøêå, è êàê Ïîâåëèòåëüíèöå ïîäçåìíîãî öàðñòâà. Êîðà áûëà ñòðîéíîé, ïðåêðàñíîé þíîé äåâóøêîé, àññîöèèðóåìîé ñ ñèìâîëàìè ïëîäîðîäèÿ – ãðàíàòîì, çåðíîì, õëåáíûìè çëàêàìè, à òàêæå ñ íàðöèññîì, öâåòêîì, êîòîðûì åå ïðèìàíèëè. Â äðóãîé ñâîåé èïîñòàñè Ïåðñåôîíà – çðåëàÿ áîãèíÿ, óïðàâëÿþùàÿ äóøàìè óìåðøèõ, ïðîâîäíèê äëÿ æèâûõ, ïîñåùàþùèõ ïîäçåìíûé ìèð. Îíà òðåáóåò èñïîëíåíèÿ ñâîèõ æåëàíèé.

Õîòÿ Ïåðñåôîíà è íå ÿâëÿëàñü îäíîé èç äâåíàäöàòè îëèìïèéöåâ, îíà áûëà âàæíîé ôèãóðîé â Ýëåâñèíñêèõ ìèñòåðèÿõ – ãëàâíîì êóëüòå äðåâíèõ äðåêîâ çà äâå òûñÿ÷è ëåò äî õðèñòèàíñòâà. Åæåãîäíîå âîçâðàùåíèå Ïåðñåôîíû èç ïîäçåìíîãî ìèðà ïåðåæèâàëîñü ãðåêàìè êàê âîçðîæäåíèå è îáíîâëåíèå æèçíè ïîñëå ñìåðòè.

          Ïîçäíåå Ïåðñåôîíà ñòàëà ïîâåëèòåëüíèöåé ïîäçåìíîãî öàðñòâà. Âñÿêèé ðàç, êîãäà ãåðîè èëè ãåðîèíè ãðå÷åñêîé ìèôîëîãèè ñõîäèëè â öàðñòâî òåíåé, Ïåðñåôîíà áûëà òàì, ÷òîáû ïðèíÿòü èõ è áûòü èõ ïðîâîäíèêîì. Íèêòî íèêîãäà íå îáíàðóæèâàë åå îòñóòñòâèÿ. Íà äâåðè íèêîãäà íå áûëî âûâåñêè "Óøëà äîìîé ê ìàòåðè", õîòÿ ìèô î Äåìåòðå è Ïåðñåôîíå ãîâîðèò, ÷òî îíà òàê ïîñòóïàëà äâå òðåòè ãîäà.

     "Îäèññåå" ãåðîé Îäèññåé (Óëèññ) ñïóñòèëñÿ â ïîäçåìíîå öàðñòâî òåíåé, ãäå Ïåðñåôîíà ïîêàçàëà åìó äóøè æåíùèí-ëåãåíä.  ìèôå î Ïñèõåå è Ýðîñå ïîñëåäíèì çàäàíèåì Ïñèõåè áûëî ñîéòè â ïîäçåìíûé ìèð ñ êîðîáî÷êîé, ÷òîáû íàïîëíèòü åå äëÿ Àôðîäèòû âîëøåáíîé ìàçüþ Ïåðñåôîíû. Ïîñëåäíèé èç äâåíàäöàòè ïîäâèãîâ Ãåðàêëà òàêæå ïðèâåë åãî ê Ïåðñåôîíå. Ãåðàêë äîëæåí áûë ïîëó÷èòü åå ðàçðåøåíèå âçÿòü ñ ñîáîé óêðîùåííîãî èì Öåðáåðà, óæàñíîãî òðåõãîëîâîãî ïñà-ñòðàæà.

Ïåðñåôîíà ñîïåðíè÷àëà ñ Àôðîäèòîé çà îáëàäàíèå Àäîíèñîì, ïðåêðàñíûì þíîøåé, êîòîðîãî ëþáèëè îáå áîãèíè. Àôðîäèòà ñïðÿòàëà Àäîíèñà â ëàðöå* è îòïðàâèëà åãî ê Ïåðñåôîíå. Íî, îòêðûâ ëàðåö, ïîâåëèòåëüíèöà ïîäçåìíîãî öàðñòâà ñàìà ïëåíèëàñü êðàñîòîé ìëàäåíöà è îòêàçàëàñü âåðíóòü åãî Àôðîäèòå. Òåïåðü Ïåðñåôîíà áîðîëàñü ñ äðóãèì ìîãóùåñòâåííûì áîæåñòâîì çà îáëàäàíèå Àäîíèñîì, ïîäîáíî òîìó, êàê Äåìåòðà è Ãàäåñ îäíàæäû ñòîëêíóëèñü èç-çà íåå. Ñïîð áûë âûíåñåí íà ñóä Çåâñà, ðåøèâøåãî, ÷òî Àäîíèñ áóäåò ïðîâîäèòü îäíó òðåòü ãîäà ñ Ïåðñåôîíîé, îäíó òðåòü – ñ Àôðîäèòîé, à â îñòàëüíîå âðåìÿ áóäåò ïðåäîñòàâëåí ñàìîìó ñåáå.

* Àäîíèñ – ñûí êèïðñêîãî öàðÿ Êèïèðû è åãî äî÷åðè Ìèððû. Áîãè ïðåâðàòèëè Ìèððó â ìèððîâîå äåðåâî, èç òðåñíóâøåãî ñòâîëà êîòîðîãî ðîäèëñÿ ðåáåíîê óäèâèòåëüíîé êðàñîòû – Àäîíèñ. Àôðîäèòà ïåðåäàëà ìëàäåíöà â ëàðöå íà âîñïèòàíèå Ïåðñåôîíå, íå ïîæåëàâøåé â äàëüíåéøåì ðàññòàòüñÿ ñ íèì.

 
Øàðëü-Æîçåô Íàòóàð. Ïñèõåÿ  è Ïðîçåðïèíà, 1735. Ëîñ-Àíæåëåñ

 Ïñèõåÿ òî ÷åì ñ Ïðîçåðïèíîé çàâÿçàíà? Óçíàþ, íàïèøó.

           Ïèøó:

ÂÅÐÑÈß ¹1 Âåíåðà ïîâñþäó ïðåñëåäîâàëà Ïñèõåþ (òàê êàê ëþäè ñòàëè åé îêàçûâàòü ïî÷åñòè, êàê Âåíåðå) è â êîíöå êîíöîâ çàìàíèëà â ïîäçåìíîå öàðñòâî Ïðîçåðïèíû. Ïñèõåÿ, ñíîâà ñòàâ æåðòâîé ñâîåãî ëþáîïûòñòâà, âäîõíóëà ÿäîâèòûå èñïàðåíèÿ è ïîãðóçèëàñü â ãëóáîêèé ñîí. Àìóð ïðèøåë íà ïîìîùü ñâîåé âîçëþáëåííîé – îí ñëåòåë íà çåìëþ è ïðîáóäèë åå ñâîèì ïîöåëóåì. Ìîãóùåñòâåííûé Þïèòåð ñæàëèëñÿ íàä ìîëüáàìè Àìóðà è äàðîâàë Ïñèõåå áåññìåðòèå. Íà êàðòèíå Ïñèõåÿ òàêàÿ äåáåëàÿ äåâèöà ÷òî-òî âòèðàåò Ïðîçåðïèíå, áåç îñîáîãî ñìóùåíèÿ ïðèòîì, ðÿäîì ñ íåé êîðçèíêà ñ ïèðîæêàìè. Âåùü â àäó íåîáõîäèìàÿ.

ÂÅÐÑÈß ¹2 17 ÿíâàðÿ 2001 ãîäà èñïîëíèëîñü 330 ëåò ñî äíÿ ïðåìüåðû òðàãåäèè-áàëåòà Æàíà-Áàòèñòà Ëþëëè «Ïñèõåÿ».

            Àìóð ïðîñûïàåòñÿ è óëåòàåò. Âåíåðà ïðåðûâàåò æàëîáû Ïñèõåè ïîâåëåíèåì îòïðàâèòüñÿ íà áåðåãà Ñòèêñà è ïðèíåñòè îòòóäà øêàòóëêó, â êîòîðîé Ïðîçåðïèíà õðàíèò ñðåäñòâî, ñîõðàíÿþùåå åå êðàñîòó. Âïðî÷åì, åäèíñòâåííîå, ÷òî òåðçàåò âëþáëåííóþ Ïñèõåþ — ðàçëóêà ñ Àìóðîì. Îíà ïûòàåòñÿ ïîïàñòü â Àèä êðàò÷àéøèì ïóòåì — áðîñèâøèñü â âîäó, íî Ðåêà â îêðóæåíèè Òðîñòíèêîâ ïîäíèìàåòñÿ åé íàâñòðå÷ó: «Îñòàíîâèñü, íå òåðÿé íàäåæäû, Àìóð âåëèò òåáå æèòü...»

         Äåéñòâèå IV. Çàë âî äâîðöå Ïðîçåðïèíû. Ïîäðîáíî ïåðå÷èñëÿÿ óæàñû ýòèõ ìåñò, Ïñèõåÿ âíîâü è âíîâü ïîâòîðÿåò, ÷òî îíè íå ñòðàøíû, åäâà îíà âñïîìèíàåò î ëþáèìîì. Ôóðèè è ëåòàþùèå äåìîíû ãðîçÿò íàêàçàòü ñìåðòíóþ, ïîòðåâîæèâøóþ ïîêîé öàðñòâà Ïëóòîíà. Èõ ïðîãîíÿþò íèìôû Àõåðîíà. È îáíàäåæèâàþò Ïñèõåþ: Àìóð îäóøåâëÿåò âñþ Âñåëåííóþ, äàæå àä ïðèçíàåò åãî âëàñòü. Ïîñåìó Ìåðêóðèé óæå îáî âñåì ðàññêàçàë Ïðîçåðïèíå, è òà ðàñïîðÿäèëàñü ïåðåäàòü Ïñèõåå òðåáóåìîå Âåíåðîé. Òåïåðü ïîíÿòíî, çà÷åì êîðçèíêà è ÷åãî íàäî îò Ïðîçåðïèíû.

ÂÅÐÑÈß¹3 Îòêóäà ïðåäúèäóùèå íå çíàþ, à ýòà èç "Ìåòàìîðôîç" Àïóëåÿ, ÷åãî-òî ÿ íå ïîìíþ. Çîëîòîãî îñëà ïîìíþ. Íó, ëàäíî:

Âåíåðà çàäà¸ò Ïñèõåå íåñêîëüêî íåâûïîëíèìûõ çàäàíèé, ñ êîòîðûìè òà óñïåøíî ñïðàâëÿåòñÿ.

   êà÷åñòâå ïîñëåäíåãî èñïûòàíèÿ Âåíåðà âåëåëà Ïñèõåå ñïóñòèòüñÿ â öàðñòâî Îðêà (Àèäà) è âçÿòü ó Ïðîçåðïèíû íåìíîãî åå êðàñîòû. "Âåäü, ñâîþ ÿ óæ èñòðàòèëà â çàáîòàõ î ñûíå," - ñêàçàëà Âåíåðà

 

        Ñäåëàâ âñå òàê, êàê ñîâåòîâàëà áàøíÿ (ñ êîòîðîé îíà õîòåëà áðîñèòñÿ äëÿ ïîïàäàíèÿ â Àèä), Ïñèõåÿ ïîëó÷èëà îò Ïðîçåðïèíû áàíî÷êó,  íî, íå óäåðæàâøèñü, îòêðûëà è òîò÷àñ óñíóëà, èáî òàì áûë çàêëþ÷åí ñîí ïîäçåìíîãî ìèðà. Ìåæäó òåì ðàíà Àìóðà çàæèëà, è, áåñïîêîÿñü çà âîçëþáëåííóþ, îí ïîì÷àëñÿ ê âõîäó â öàðñòâî Îðêà, ãäå îáíàðóæèë ñïÿùóþ Ïñèõåþ. Ñíÿâ ñ íåå ñîí, îí ñïðÿòàë åãî îáðàòíî â áàíî÷êó.

 

                        

 

PROSERPINA

(For a Picture)

Afar away the light that brings cold cheer

Unto this wall, - one instant and no more

Admitted at my distant palace-door.

Afar the flowers of Enna from this drear

Dire fruit, which, tasted once, must thrall me here.

Afar those skies from this Tartarean grey

That chills me: and afar, how far away,

The nights that shall be from the days that were.

 

Afar from mine own self I seem, and wing

Strange ways in thought, and listen for a sign:

And still some heart unto some soul doth pine,

(Whose sounds mine inner sense is fain to bring,

Continually together murmuring,)

"Woe's me for thee! Unhappy Proserpine!"

1872

 

"PROSERPINA"

(Ê êàðòèíå)

Äàë¸êèé ñâåò äîõîäèò èíîãäà,

Åäâà áëåñíóâ â íåóëîâèìûé ìèã,

Êàê áóäòî òîëüêî â ïàìÿòè âîçíèê.

Äàë¸êîé Ýííû öâåò ìèëåé ïëîäà

Çëîâåùåãî, ïðèâåäøåãî ñþäà.

È íåáåñà - êàê äàëåêè îíè

Îò Òàðòàðà; îñòàëèñü â ïðîøëîì äíè -

Çäåñü æä¸ò íî÷åé ãðÿäóùèõ ÷åðåäà.

 

È îò ñåáÿ ñàìà ÿ äàëåêà,

È ïðîøëîãî ìíå çäåñü ñîâñåì íå æàëü:

Íî ÷åé-òî ãîëîñ ðâ¸òñÿ ÷åðåç äàëü

Êî ìíå (è âíÿòåí çîâ åãî, ïîêà

Ëåïå÷åò ÷òî-òî ìíå ìîÿ òîñêà):

"Î Ïðîçåðïèíà! Î ìîÿ ïå÷àëü!"

1872

Ëåïå÷åò ÷òî-òî ìíå ìîÿ òîñêà, ÷òî ýòî ïåðåâîä Òàìàðû Êàçàêîâîé.

    Ýííà - äðåâíèé ñèöèëèéñêèé ãîðîä, ìåñòî ïîêëîíåíèÿ Äåìåòðå, ãäå áûë çíàìåíèòûé âî âñåé àíòè÷íîñòè õðàì. Ñ÷èòàëîñü, ÷òî çà îêðàèíîé Ýííû, íà öâåòóùåì ëóãó, Àèä ïîõèòèë Ïåðñåôîíó.  äðåâíîñòè ïîêàçûâàëè ïåùåðó, ÷åðåç êîòîðóþ Àèä óí¸ñ å¸ â ïîäçåìíîå öàðñòâî.

 

          ""Ïðîçåðïèíà"(1824) íå ñòèõè, à ìóçûêà, — ïèñàë Äåëüâèã Ïóøêèíó, ïîëó÷èâ îò íåãî íèæå ïðèâåä¸ííîå ïðîèçâåäåíèå, — ýòî ïåíüå ðàéñêîé ïòè÷êè, êîòîðîå ñëóøàÿ, íå óâèäèøü, êàê ïðîéäåò òûñÿ÷à ëåò".

      Ïðî÷¸ë ÿ Ïóøêèíñêóþ "Ïðîçåðïèíó", ðå÷ü â ñòèõîòâîðåíèè èä¸ò îá àäúþëüòåðå: â äåêîðàöèÿõ Òàðòàðà èçìåíèëà Ïðîçåðïèíà ñâîåìó Àèäó ñ êàêèì-òî ñìåðòíûì. Ñ êåì íå çíàþ, óçíàþ - íàïèøó.

     Â àâòîãðàôàõ ñòèõîòâîðåíèå èìååò ïîäçàãîëîâîê "Ïîäðàæàíèå Ïàðíè" Èìååòñÿ â âèäó 27 êàðòèíà åãî "Deguisments de Venus" "Ïðåâðàùåíèé Âåíåðû", âîëüíûì ïåðåâîäîì êîòîðîé Ïðîçåðïèíà è ÿâëÿåòñÿ.

 

 

                            ÏÐÎÇÅÐÏÈÍÀ. 1824.

Ïëåùóò âîäû Ôëåãåòîíà,

Ñâîäû Òàðòàðà äðîæàò,

Êîíè áëåäíîãî Ïëóòîíà

Áûñòðî ê íèìôàì Ïåëèîíà

Èç àèäà áîãà ì÷àò.

Âäîëü ïóñòûííîãî çàëèâà

Ïðîçåðïèíà âñëåä çà íèì,

Ðàâíîäóøíà è ðåâíèâà,

Ïîòåêëà ïóò¸ì îäíèì.

Ïðåä áîãèíåþ êîëåíà

Ðîáêî þíîøà ñêëîíèë.

È áîãèíÿì ëüñòèò èçìåíà:

Ïðîçåðïèíå ñìåðòíûé ìèë.

Àäà ãîðäàÿ öàðèöà

Âçîðîì þíîøó çîâ¸ò,

Îáíÿëà - è êîëåñíèöà

Óæ ê àèäó èõ íåñ¸ò;

Ì÷àòñÿ îáëàêîì îäåòû;

Âèäÿò âå÷íûå ëóãà,

Ýëèçåé è òîìíîé Ëåòû

Óñûïë¸ííûå áðåãà.

Òàì áåññìåðòüå, òàì çàáâåíüå.

Òàì óòåõàì íåò êîíöà.

Ïðîçåðïèíà â óïîåíüå,

Áåç ïîðôèðû è âåíöà,            (à åù¸ áåç ÷åãî?)

Ïîâèíóåòñÿ æåëàíüÿì,

Ïðåäà¸ò åãî ëîáçàíüÿì

Ñîêðîâåííûå êðàñû              (÷åãî ëîáçàë-òî?)

 ñëàäîñòðàñòíîé íåãå òîíåò,

È ìîë÷èò è òîìíî ñòîíåò...

Íî áåãóò ëþáâè ÷àñû;    (áëåäíîìó Ïëóòîíó ñëàáî)

 

Ïëåùóò âîäû Ôëåãåòîíà,

Ñâîäû Òàðòàðà äðîæàò,

Êîíè áëåäíîãî Ïëóòîíà

Áûñòðî ì÷àò åãî íàçàä.       (èç êîìàíäèðîâêè)

È Êåìåðû äî÷ü óõîäèò,

È ñ÷àñòëèâöà çà ñîáîé

Èç Ýëèçèÿ âûâîäèò

Ïîòà¸ííîþ òðîïîé;

È ñ÷àñòëèâåö îòïèðàåò

Îñòîðîæíóþ ðóêîé

Äâåðü, îòêóäà âûëåòàåò

Ñíîâèäåíèé ëîæíûé ðîé. 

         Êóðñèâ ìîé.

                         Proserpina (sometimes spelt Proserpine, Prosperine or Prosperina) is an ancient Roman goddess whose story is the basis of a myth of Springtime. Her Greek goddess' equivalent is Persephone The probable origin of her name comes from the Latin, "proserpere" or "to emerge," in respect to the growing of grain. Proserpina was subsumed by the cult of Libera, an ancient fertility goddess, wife of Liber and is also considered a life–death–rebirth deity.

She was the daughter of Ceres, goddess of agriculture and crops and Jupiter, the god of sky and thunder.

 

                                         Myth of a Springtime

                     Venus, in order to bring love to Pluto, sent her son Amor also known as Cupid to hit Pluto with one of his arrows. Proserpina was in Sicily (an island outside of Italy), at the Pergusa Lake near Enna, where she was playing with some nymphs and collecting flowers, when Pluto came out from the volcano Etna with four black horses named Orphnaeus, Aethon, Nycteus and Alastor. He abducted her in order to marry her and live with her in Hades, the Greco-Roman Underworld, of which he was the ruler. Notably, Pluto was also her uncle, being Jupiter's (and Ceres's) brother. She is therefore Queen of the Underworld.

Her mother Ceres, the goddess of agriculture or of the Earth, went looking for her in vain to every corner of the earth, but wasn't able to find anything but a small belt that was floating upon a little lake (made with the tears of the nymphs). In her desperation Ceres angrily stopped the growth of fruits and vegetables, bestowing a malediction on Sicily. Ceres refused to go back to Mount Olympus and started walking on the Earth, making a desert at every step.

Worried, Jupiter sent Mercury to order Pluto (Jupiter's brother) to free Proserpina. Pluto obeyed, but before letting her go he made her eat six pomegranate seeds, because those who have eaten the food of the dead could not return to the world of the living. This meant that she would have to live six months of each year with him, and stay the rest with her mother. This story was undoubtedly meant to illustrate the changing of the seasons; When Ceres welcomes her daughter back in the spring the earth blossoms, and when Proserpina must be returned to her husband it withers.

In another version of the story, some people believe that upon her abduction, Proserpina ate only four pomegranate seeds, and she did so of her own accord. When Jupiter ordered her return, Pluto struck a deal with Jupiter, saying that since she had stolen his pomegranate seeds, she must stay with him four months of the year in return. For this reason, in spring when Ceres received her daughter back, the crops blossomed, and in summer they flourished. In the autumn Ceres changed the leaves to shades of brown and orange (her favorite colors) as a gift to Proserpina before she had to return to the underworld. During the time that Proserpina resided with Pluto, the world went through winter, a time when the earth was barren.

 Orpheus and Eurydice

The myth of Proserpina, the most extensive Latin version of which is by Claudian (4th century AD, available), is closely connected with that of Orpheus and Eurydice — it is Proserpina, in Virgil's writings, as Queen of Hades, who allows Orpheus to enter and bring back to life his wife Eurydice who is dead by snake poison. Proserpina played her cetra to quiet Cerberus, but Orpheus did not respect her order never to look back, and Eurydice was lost.

 Art featuring Proserpina

Proserpina's figure inspired many artistic compositions, eminently in sculpture Bernini, in painting (D.G.Rossetti , Pomarancio , J.Heintz , P.P.Rubens , A.Durer , Dell'Abbate , M.Parrish ) and in literature (Goethe and Swinburne's Hymn to Proserpine)

 Proserpina in astronomy

Proserpina is a Main belt asteroid 95.1km in diameter, which was discovered by R. Luther in1853.

File:RapeOfProserpina.jpg

Rape_of_Prosepina_September_2015-2b (448x319, 61Kb)

 

"The Rape of Proserpina"  (1621-1622)

Gian Lorenzo Bernini

 

 

9106 (495x700, 427Kb)Ïîõèùåíèå Ïðîçåðïèíû. À.Äþðåð.

 

 

 

Dell'Abbate rape of Proserpina

 

 
Rape of Proserpina, by Luca Giordano
File:Cliveden-proserpina.jpg
 
This copy of Vincenzo de'Rossi's "The Rape of Proserpina" on a pedestal in the ring of the parterre faces the Garden Front of Cliveden House.
 
 

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Õàíñ ôîí Ààõåí

Spb_Vasilievsky_Island_Mining_College_asv2019-09_img2 (220x330, 26Kb)

Ñêóëüïòîð: Â.È. Äåìóò-Ìàëèíîâñêèé
Óñòàíîâëåíà ñêóëüïòóðà ó Ãîðíîãî èíñòèòóòà. ÑÏÁ.

 

 Ðåìáðàíäò, «Ïîõèùåíèå Ïåðñåôîíû», 1632 ãîä.
Rembrandt Harmensz. van Rijn, «Raub der Proserpina», c. 1632

 

 

ñêà÷àííûå ôàéëû (336x445, 21Kb)

Âîçâðàùåíèå Ïåðñåôîíû
Ôðåäåðèê Ëåéòîí

 

46_5 (306x448, 36Kb)

 

Ñêóëüïòóðà â ïàðêå Òèìèðÿçåâñêîé Àêàäåìèè.


Äåìåòðà (ó ðèìëÿí Öåðåðà) - áîãèíÿ ïëîäîðîäèÿ è çåìëåäåëèÿ. Ðÿäîì ñ íåé - åå äî÷ü Ïåðñåôîíà (Ïðîçåðïèíà) - áóäóùàÿ öàðèöà ïîäçåìíîãî ìèðà.

 Ýòè ñòàòóè ïîïàëè â Òèìèðÿçåâñêèé ïàðê óæå âî âòîðîé ïîëîâèíå ÕÕ âåêà èç Áàóìàíñêîãî ñàäà, ðàñïîëîæåííûìè ìåæäó äâóìÿ ïàðàëëåëüíûìè óëèöàìè Ñòàðîé è Íîâîé Áàñìàííûìè, ãäå ñòîÿëè ñ äàâíèõ âðåìåí. Ïîñëåäíèå ñâîè ãîäû â ýòîì ïàðêå îíè ñòîÿëè îêîëî ïèâíîé è áûëè â çàïóùåííîì ñîñòîÿíèè... Êîãäà èõ ïåðåäàëè Òèìèðÿçåâñêîé àêàäåìèè è íà÷àëè ðåñòàâðàöèþ, îêàçàëîñü, ÷òî ýòè ôèãóðû, ìíîãîêðàòíî ïåðåêðàøèâàåìûå ðàçíîé êðàñêîé (îò áðîíçîâîãî äî ñåðåáðÿíîãî è ãîëóáîãî), áûëè ïåðâûìè îòëèâêàìè ÷óãóíîëèòåéíîãî çàâîäà Äåìèäîâûõ íà Óðàëå. Ýòîò âûâîä çàñâèäåòåëüñòâîâàí ïîäïèñüþ ìàñòåðà-ëèòåéùèêà Èîãàííà Þñòà, äàòîé - 1760 ãîä è ñïîñîáîì îòëèâêè.  ñêóëüïòóðå óãàäûâàåòñÿ ïëàñòè÷åñêàÿ ìàíåðà çíàìåíèòîãî â òó ïîðó ñêóëüïòîðà Êàðëî Ðàñòðåëëè. Ïî õàðàêòåðó èñïîëíåíèÿ ïàðàäíûå ñêóëüïòóðû ÿâíî ïðåäíàçíà÷àëèñü äëÿ ïàðêîâ ñåâåðíîé ñòîëèöû, íî ïî÷åìó-òî îêàçàëèñü â Ìîñêâå. Ìîæíî ïðåäïîëîæèòü, ÷òî ïåðåâîç èõ ñ Óðàëà â Ïåòåðáóðã ñîâïàë ñ ýïèäåìèåé ÷óìû â Ìîñêâå. Ãðóç çàäåðæàëè, ñêóëüïòóðû îñòàâèëè íà âðåìÿ â ïàðêå âáëèçè îäíîãî èç òðåõ âëàäåíèé, ïðèíàäëåæàâøèõ Äåìèäîâûì, äà òàê è íå ïåðåâåçëè â Ïåòåðáóðã.

 

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Ìðàìîðíûé áþñò Ïðîçåðïèíû ðàáîòû àìåðèêàíöà Õèðàìà Ïàóýðñà 1843.

 Marble Bust of Proserpine by Hiram Powers 1843

 

 


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Ðóáåíñ Ïåòåð Ïàóëü(1577-1640).Ïîõèùåíèå Ïðîçåðïèíû.
 
   Àèä òèïè÷íûé Áóäóëàé ñ ïîõìåëüÿ, Ïðîçåðïèíà â ïîçå:"Àõ, ÿ ñåãîäíÿ íåçäîðîâà, ó ìåíÿ èç íîñó øëà êðîâü". Ðóáåíñà íå ëþáëþ. ×òî îí íàðèñîâàë-òî? Íè öâåòà íè êîìïîçèöèè, ïûøíî ïîäàííûå òåëåñà â åãî âðåìÿ íàâåðíîå ïðèâëåêàëè èñêóññòâîâåäîâ. Ïðî àíàòîìèþ ÿ óìàë÷èâàþ, ïîïðîáóéòå ñîãíóòü íîãó â êîëåíå, êàê Ïðîçåðïèíà. À äåëüòû è òðàïåöèè ó Àèäà ñðèñîâàíû ñ áàðàíà â ìÿñíîé ëàâêå, ÷åëîâåêè ïîäîáíûìè íå îáëàäàþò.
 
 
       Äóìàë, òåìà Ïðîçåðïèíû â æèâîïèñè è ñêóëüïòóðå èñ÷åðïàíà. Êóäà òàì! Âîò ñâåæåíüêàÿ Àëüìà Òàäåìû ïðîèâîäñòâà:

 

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Ðóáðèêè:  ÊÀÐÒÈÍÛ ÐÎÑÑÅÒÒÈ/ÏÐÎÇÅÐÏÈÍÀ PROSERPINA

ÂÅíåÐÈÍ_ÁÀØÌÀ×ÎÊ   îáðàòèòüñÿ ïî èìåíè ×åòâåðã, 24 Èþíÿ 2010 ã. 05:54 (ññûëêà)
Ðóáåíñ Ïåòåð Ïàóëü(1577-1640).Ïîõèùåíèå Ïðîçåðïèíû.
 (699x465, 53Kb)
Îòâåòèòü Ñ öèòàòîé Â öèòàòíèê
 

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