L'Unicorn en captivité (à partir de la Licorne tapisseries). Culture : au sud. Russisch Dimensions : hors tout : 144 7/8 x 99 in. (368 x 251,5 cm). Date : 1495-1505. Les sept pendaisons individuel connu comme 'La Licorne tapisseries,' sont parmi les plus belles et complexes des œuvres d'art de la fin du Moyen Âge que survivre. Luxueusement tissé en laine et soie avec de l'argent et doré, filets les tapisseries représentent des scènes clairement associés à la recherche de l'insaisissable, magical UNICORN. 'La Licorne en captivité" peut avoir été créé comme une seule image au lieu d'une partie d'une série. À cet inst

• Contributeur: Album / Alamy Banque D'Images
• ID de l’image: PATHMD
• Taille du fichier: 36,2 MB (3,6 MB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 2987 x 4233 px | 25,3 x 35,8 cm | 10 x 14,1 inches | 300dpi
• Photographe: Album

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Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.

The Unicorn in Captivity (from the Unicorn Tapestries). Culture: South Netherlandish. Dimensions: Overall: 144 7/8 x 99 in. (368 x 251.5 cm). Date: 1495-1505. The seven individual hangings known as "The Unicorn Tapestries, " are among the most beautiful and complex works of art from the late Middle Ages that survive. Luxuriously woven in fine wool and silk with silver and gilded threads, the tapestries vividly depict scenes associated with a hunt for the elusive, magical unicorn. "The Unicorn in Captivity" may have been created as a single image rather than part of a series. In this instance, the unicorn probably represents the beloved tamed. He is tethered to a tree and constrained by a fence, but the chain is not secure and the fence is low enough to leap over: The unicorn could escape if he wished. Clearly, however, his confinement is a happy one, to which the ripe, seed-laden pomegranates in the tree--a medieval symbol of fertility and marriage--testify. The red stains on his flank do not appear to be blood, as there are no visible wounds like those in the hunting series; rather, they represent juice dripping from bursting pomegranates above. Many of the other plants represented here, such as wild orchid, bistort, and thistle, echo this theme of marriage and procreation: they were acclaimed in the Middle Ages as fertility aids for both men and women. Even the little frog, nestled among the violets at the lower right, was cited by medieval writers for its noisy mating. Museum: Metropolitan Museum of Art, New York, USA.

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• 144 7/8 x 99
• 1495
• 1495-1505
• 15 15th xv xvth fifteenth century
• 1505
• 15e siècle
• 16 16th xvi xvith sixteenth century
• 16èmesièclen
• 2nd millennium a d
• 368 251,5 cm