Yes, in the harp I can a pretty strong sense of a sado-masochistic aesthetic – the balletic pose and graceful, arching body line, not to mention the penetration of the harp strings into the victim’s fundament. Even more shocking!
Yes, I agree with all that except “false love”. Her fathomless grief speaks to me of true love. The false die might indicate cheating, or hustling – and it has had a terrible outcome for her (not to mention her young man). Good point about the “semi-pose of Christ.
(There’s also a more shocking satire on a pietà above and to the right, behind the man with the flute in his rear, with a blue demon in Mary’s role)
Your observations are right: she is mourning, she had a relation with the/a dead man, her being a prostitute is somehow wrong.
It all has to do with Bosch’s mixing multiple meanings. Especially on this so-called “Hell” panel.
On the direct level, the scene in this corner is about a bar brawl.
People that were violent or otherwise wrong in inns, are being confronted with their deeds.
The woman at this level is a pro, as can be seen by the trademarks (wine, candle). The money bag nearby may be the familiar ‘extra Bosch clue’.
The die with the old-fashioned ‘wrong’ configuration indicates her false love. By Bosch’ time, the modern configuration of dice had been introduced.
On a deeper, more hidden and contrary level, Bosch offers Hope for the viewers.
He has scattered Passion elements all over the panel, which give the understanding spectator relief. (Btw, the comical elements and mocking of the devil have a similar function).
Now the lady becomes a Maria Magdalena. Her sorrow for the man with the semi-pose of Christ is now easily understood.
Her deeply sad expression reminds us of the Lamentation, compare Rogier van der Weyden’s painting of >1438, now in The Hague’s Mauritshuis.
Yes, in the harp I can a pretty strong sense of a sado-masochistic aesthetic – the balletic pose and graceful, arching body line, not to mention the penetration of the harp strings into the victim’s fundament. Even more shocking!
Yes, I agree with all that except “false love”. Her fathomless grief speaks to me of true love. The false die might indicate cheating, or hustling – and it has had a terrible outcome for her (not to mention her young man). Good point about the “semi-pose of Christ.
(There’s also a more shocking satire on a pietà above and to the right, behind the man with the flute in his rear, with a blue demon in Mary’s role)
Yes, I see that Piëta now. And on the harp is yet another Christ’s pose.... but you knew that undoubtedly.
I wish I could – but I think if I change the title at all it gets sent out again (to the annoyance of existing subscribers).
O.k., but let not the programming dictate us.
Maybe you can unfold what the numbers SHOULD be, of the only named episodes.... it makes the referring easier.
ON THE LADY WITH THE ‘WRONG’ DIE
Your observations are right: she is mourning, she had a relation with the/a dead man, her being a prostitute is somehow wrong.
It all has to do with Bosch’s mixing multiple meanings. Especially on this so-called “Hell” panel.
On the direct level, the scene in this corner is about a bar brawl.
People that were violent or otherwise wrong in inns, are being confronted with their deeds.
The woman at this level is a pro, as can be seen by the trademarks (wine, candle). The money bag nearby may be the familiar ‘extra Bosch clue’.
The die with the old-fashioned ‘wrong’ configuration indicates her false love. By Bosch’ time, the modern configuration of dice had been introduced.
On a deeper, more hidden and contrary level, Bosch offers Hope for the viewers.
He has scattered Passion elements all over the panel, which give the understanding spectator relief. (Btw, the comical elements and mocking of the devil have a similar function).
Now the lady becomes a Maria Magdalena. Her sorrow for the man with the semi-pose of Christ is now easily understood.
Her deeply sad expression reminds us of the Lamentation, compare Rogier van der Weyden’s painting of >1438, now in The Hague’s Mauritshuis.
Thank you for including text! It takes some time, but I hope to react on all chapters.
(P.S. some were unnumbered, can you add a number, for reference purposes?)