Perhaps not a single picture in the whole history causes so much heated debate as "La Gioconda" by Leonardo da Vinci. Scientists, art critics and historians are struggling with the riddle of who is depicted in the picture - some woman or is it a veiled self-portrait of Leonardo? But the most questionable is her enigmatic smile. The woman seems to be hiding something from the audience and at the same time making fun of them.
It got to the point that doctors began to examine the picture and delivered a verdict: the woman depicted in the picture is sick with such and such diseases that cause mimic contractions, taken for a smile. Tons of books have been written on the theme of La Gioconda, hundreds of documentaries and feature films have been shot, and thousands of scientific and research articles have been published.
In order to understand the secret picture, first let's talk a little about Leonardo himself. Geniuses like Leonardo, nature did not know either before or after. Two opposing, mutually exclusive views of the world merged in him with some incredible ease. Scientist and painter, naturalist and philosopher, mechanic and astronomer … In a word, physicist and lyricist in one bottle.
The riddle of "La Gioconda" was solved only in the twentieth century, and then only in part. Leonardo used the sfumato technique when painting pictures, based on the principle of dispersion, the absence of clear boundaries between objects. His contemporaries possessed this technique in one way or another, but he surpassed everyone. And the Mona Lisa's twinkling smile is the result of this technique. Due to the soft range of tones that smoothly flow from one to the other, the viewer, depending on the focus of the gaze, gets the impression that she is either smiling tenderly or smiling haughtily.
It turns out that the mystery of the painting has been solved? Far from it! After all, there is one more mysterious moment associated with the "La Gioconda"; the picture lives its own life and in an incomprehensible way affects the people around. And this mystical influence was noticed a very, very long time ago.
First of all, the painter himself suffered. He did not work on any of his works for such a long time! But this was an ordinary order. For four long years, spending, according to estimates, at least 10,000 hours, with a magnifying glass in hand, Leonardo created his masterpiece, applying strokes 1 / 20-1 / 40 mm in size. Only Leonardo was capable of this - it is hard labor, the work of an obsessed one. Especially when you consider the size: only 54x79 cm!
Working on "La Gioconda", Leonardo severely damaged his health. Possessing an almost incredible vitality, he practically lost it by the time the painting was completed. Incidentally, this most perfect and mysterious work of his remained unfinished. Basically, da Vinci has always gravitated towards incompleteness. In this he saw a manifestation of divine harmony and, perhaps, was absolutely right. After all, history knows many examples of how a desperate desire to finish what was started became the cause of the most incredible cases.
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However, he carried this work of his with him everywhere, did not part with it for a moment. And she still sucked and sucked the strength out of him … As a result, within three years after the termination of work on the painting, the artist began to grow decrepit very quickly and died.
Misfortunes and troubles pursued those who were somehow connected with the picture. According to one version, the painting depicts a real woman, and not a figment of the imagination: Lisa Gherardini, the wife of a Florentine merchant. She posed for the artist for four years, and then died very quickly - at the age of twenty-eight. Her husband did not live long after the wedding; Giuliano Medici's lover soon died of consumption; his illegitimate son from "La Gioconda" was poisoned.
The mystical influence of the picture did not stop there: historians dispassionately state more and more new facts of its paranormal impact on people. One of the first to note this was the ministers of the Louvre, the museum where the masterpiece is kept. They have long ceased to be surprised at the frequent fainting that happens to visitors near this picture, and note that if there is a long break in the work of the museum, "La Gioconda" seems to "darken its face", but it is worth visitors to re-fill the halls of the museum and give her a portion of admiring glances how Mona Lisa seems to come to life, juicy colors appear, the background brightens, a smile is seen more clearly. Well, how can you not believe in energy vampirism?
The fact that a painting has an incomprehensible effect on those who look at it for a long time was noted back in the 19th century. Stendhal, who, after admiring her for a long time, fainted. And to date, more than a hundred such documented syncope has been recorded. Immediately I remember Leonardo himself, who spent hours looking at his painting, was eager to finish something in it, to redo it … His hand was already trembling and his legs were barely worn, and he was sitting next to the "La Gioconda", not noticing how she carried away his strength … By the way, Leonardo also had fainting near the La Gioconda.
It is no secret that the picture not only delights, but also frightens people - and there are not much fewer such frightened than admired ones. Most often, the picture is frankly disliked by children. Children are more subtly organized creatures and feel the world more on the level of emotions and intuition. They are not confused by the general opinion that La Gioconda is a masterpiece, and it is customary to admire it.
It is they who most often ask the question: what is there to admire? Some kind of wicked aunt, ugly besides … And, probably, not without reason, there is such a joke that Faina Ranevskaya once repeated: “Gioconda has been living in the world for so long that she herself chooses who likes and who doesn't.” Not a single picture in the history of mankind would even enter anyone's head to jokingly say that the picture itself chooses which impression to make.
Even copies or reproductions of Leonard's masterpiece are amazingly influencing people. Researchers of the paranormal influence of paintings on people have long noted that if a family has a reproduction of Ilya Repin "Ivan the Terrible kills his son", a copy of Bryullov's masterpiece "The Death of Pompeii", a number of other reproductions, including "La Gioconda", in this family much more often there are unexplained diseases, depression, loss of strength. Very often such families get divorced.
So, there is a case when a woman came to Georgy Kostomarsky, a famous St. Petersburg psychic and researcher of the paranormal influence of paintings, with a desire to somehow save her family, which was on the verge of disintegration, Kostomarsky asked if there was a reproduction of "La Gioconda" in the house? And when he received an affirmative answer, he strongly recommended that the reproduction be removed. Believe it or not, the family was saved: the woman did not just throw out the reproduction - she burned it.
John the Baptist in another painting by Leonardo is very feminine and his facial features resemble those of La Gioconda
Many researchers could not help but ask the question: what is the secret of such a negative influence of the painting on living people? There are many versions. Almost all researchers agree that the colossal energy of Leonardo is to blame for everything. He spent too much energy and nerves on this picture. Especially if the fate of recent studies on the topic of who is still depicted.
According to Top News, the Italian art critic Silvano Vincheti, one of the most famous researchers of the Mona Lisa, has proven that da Vinci painted a painting from a man. Vincheti claims that in the eyes of "La Gioconda" he discovered the letters L and S, which are the first letters of the names "Leonardo" and "Salai". Salai was Leonardo's apprentice for twenty years and, according to many historians, his lover.
So what - skeptics will ask? If there is a version that La Gioconda is a self-portrait of da Vinci, why shouldn't it be a portrait of a young man? What is mysticism here? Yes, all in the same frantic energy of Leonardo! Homosexual relationships not only now outrage the normal public, in the Renaissance it was exactly the same. Leonardo da Vinci suffered from a lack of understanding of society, so he "turned" a man into a woman.
It is not for nothing that artists are often called "creators", hinting at the Creator of the Most High. The Lord God created people, the artist also creates them in his own way. If this is just an artist - without that colossal talent of Leonardo, without his energetic power, just portraits are obtained. If there is an incredible energy message, then very mysterious works are obtained that can somehow influence the viewer with their energy.
In the case of Salai, we have a desire not only to somehow legalize a young man, but also an attempt to go against human nature altogether: to turn a young man into a girl. Isn't it sex reassignment surgery? It is quite logical that this act of creation, contrary to divine and human nature, has the above-described consequences.
According to another version, da Vinci, being a member of a secret esoteric sect, tried to find a balance between masculine and feminine principles. He believed that the human soul can be considered enlightened only when both principles coexist happily in it. And he created "La Gioconda" - not a man or a woman. It combines the opposite properties. But, apparently, it somehow does not connect well, that's why there is a negative influence …
Comparison of self-portrait of Leonardo and La Gioconda. Almost one to one.
The third version says that it's all about the personality of a model named Pacifiki Brandano, who was an energy vampire. The leakage of vital energy at the initial stage causes apathy in the victim of energy aggression, weakening of the immune system, and then leads to severe health problems.
So, it is very similar that Pacifika was just such a person, an absorber of the vital energy of other people. Therefore, with a short-term contact of a person with pictures depicting energy vampires, a manifestation of Stendhal's syndrome may occur, and with a long-term - and more unpleasant consequences.
The “La Gioconda” concentrates the quintessence of the great master's achievements on the way to approach reality. This is the results of his anatomical studies, which allowed him to depict people and animals in completely natural poses, this is the famous sfumato, this is the perfect use of chiaroscuro, this is also a mysterious smile, this is also a careful preparation of a soil special for each part of the picture, this is an unusually delicate study details. And the fact that the picture is painted on a poplar board, and the poplar is a vampire tree, may also play a role.
And, finally, the most important thing is the correct transfer of the intangible, more precisely, the subtle essence of the painting object. With his extraordinary talent, Leonardo created a truly living creation, giving a long, continuing to this day, life to Pacifica with all its characteristic features. And this creation, like the creation of Frankenstein, destroyed and outlived its creator.
So if "La Gioconda" can bring evil to people trying to penetrate into its meaning, then perhaps all reproductions and the original itself should be destroyed? But this would be an act of a crime against humanity, especially since there are many paintings with such an effect on a person in the world.
You just need to know about the peculiarities of such paintings (and not only paintings) and take appropriate measures, for example, limit their reproduction, warn visitors in museums with such works and be able to provide them with medical assistance, etc. Well, if you have reproductions of "La Gioconda" and it seems to you that they have a bad effect on you, put them away or burn them.
