“… They scare with plates, they say, vile, fly,
Now your dogs bark, then your ruins talk."
- (V. S. Vysotsky)
Sometimes, it is still useful to forget all the knowledge gained at school and institute, in order to look in a new way, at simple, long-known things. And then something new will certainly be revealed. I propose to reflect on the content of canvases from the collection of reproductions of paintings by painters of the eighteenth and early nineteenth centuries, which I managed to collect.
For a start, a little preface. To understand the course of my thoughts, and they themselves do not seem so incredible.
Everyone, morally and physically healthy, sooner or later comes to the realization that all life is a continuous run in a circle. Well, or a zebra, as you like. Nevertheless, the essence is the same: One day you wake up in the morning, and you realize that you have spent a lot of vitality on pouring from empty to empty. You start doing everything all over again, taking into account the previous experience, and as a result, the next morning comes when you have to rethink everything once again.
And very many, it turns out, are unable to admit that what they considered unshakable is in fact a delusion. We were taught resilience, right? We are convinced that there should be some truths that should remain the basis of everything, without the existence of which chaos will begin. Therefore, a person who renounces his beliefs does not cause anyone's respect. Respect for the "steadfast tin soldiers". And this is the main problem. It is very difficult to grasp that fine line between truth and error.
And time passes at the same time … And everything around is changing rapidly. You cannot mindlessly follow outdated instructions. But even more so, one must not deviate from the norms of morality, otherwise a "stalling into a tailspin" will inevitably occur, which leads to a catastrophe. The Bible describes the death of Sodom and Gomorrah, and this is precisely about those who decided that the norms of morality were outdated and became not mandatory. I hope that nothing like this will happen in our world. Humanity will change its mind and will not allow a situation to arise in which it is necessary to make sure that the norms of morality are truly unshakable. They are not subject to revision. Otherwise, we will have to admit that HELL exists, and we are exactly in it.
Promotional video:
So, let's try to deviate from dogmas, but at the same time, do not cross the line, and not slide into mysticism. Here are some striking paintings by various artists that are less famous than the work of Giovanni Battista Piranesi, but which are united not only by the era, but also by the content.
Unknown artist of the second half of the 18th century.
Pierre Patel the Elder.
Francesco Guardi.
Antonio Canaletto.
Dresden. Antonio Canaletto.
Alessandro Magnasco.
Ruins in a Dune Landscape Jacob Van Ruisdael.
Nicholas Peters Berchem.
This master (Nicolaes Pieterszoon Berchem) painted quite a few landscapes in which the main characters are undoubtedly the ruins. I named him Nikolai Petrovich Medvedev, and this is not quite a joke, as many people understand.
Nicholas Peters Berchem.
Nicholas Peters Berchem.
Nicholas Peters Berchem.
Nicholas Peters Berchem.
Nicholas Peters Berchem.
The question is reasonable: - “Do they have that, in Europe of the XVIII-XIX centuries. there were no buildings left that were not destroyed”? There is a reasonable explanation for this by historians and art historians. It is, in fact, simple and logical, and to question it is real madness. At first glance, really, why "fence the garden", it's just a cultural trend, fashion, or as it is now fashionable to say: - "trend".
Yes. Tastes and moods, thoughts and feelings of millions are subject to fashion and style. We all see examples of imitation on the brink of insanity everywhere. As soon as some famous and rich appear on mountain skiing in the frame, hundreds of thousands of followers begin to sweep ski equipment from store shelves, and confess in secret to each other that since childhood they have only dreamed of getting on skis …
Okay, back to our rams. And also to bulls, sheep and goats, against the background of "antique" ruins. This is also a "trend". The same as the shepherds and laundresses in the landscapes of those years. Has this "current" affected Russia? Do not doubt. Though the memory of Russian ruins was carefully erased in the XIX? and even in the XX century, but something still survived. Here you are:
Kievsky Detinets. Unknown artist.
Ashnya-Ruin in the Catherine Park of Tsarskoe Selo.
Now she looks as it should. Nice expensive "European-quality", gloss and glamor. But more recently it looked in line with the European "trend" of the 18th century. A pebble with a European date, but depicted in Russian numbers, is noteworthy.
& quot; Doodles & quot; at the bottom mean the number 1762.
To be honest, the reliability of this plate seems to me very doubtful. In many ways. But this is not surprising. The scale of the "cleansing" of the true history of Russia is such that it does not fit in my head how it was possible to pull off all this. After all, everything that we could learn about the pre-Roman empire was gleaned from sources that were outside the “cleansing” zone, namely in Western universities and libraries.
This fact leaves no doubt about who exactly "cleaned up" the story. Of course a winner. And this winner is clearly not one of our ancestors, otherwise we would write the history of the Anglo-Saxons, and not they to us. Although … This is not our method. We are not against the great past of the ancient European civilization, which of course existed …
Of course, I do not assume that the hordes of Germans walked through the forests and fields, and bulldozed all the ancient buildings on the territory of Tartary with bulldozers. Not. It was enough just not to pay attention to the "construction waste", and not to worry about preservation. That's all! And written sources were destroyed in a similar way. The truth is already to a much greater extent intentional and purposeful.
Both under Peter and under Catherine, books, under the pretext of preserving, were taken from the peasants, and whole carts were transported to Moscow and Petersburg, after which their trace is lost. It is clear that the "Old Believer heresy" was simply burned.
The Bolsheviks did the same with the archives of the Romanovs themselves in the twenties. No wonder they say: - "Do not spit in someone else's well …"
Well, God be their judge. Let's look at the paintings of another outstanding representative of the "ruinistic" trend in European painting - Giovanni Paolo Pannini, or, as I call him, Ivan Pavlovich Panin.
Giovanni Paolo Pannini.
As you can see, the main character of the creations is the ancient ruins. Nothing new, only the ruins are not peasants with cattle, but "normal Europeans". Middle class and know. But this does not change the essence. Some ruins still exist in the form of restored structures, or rebuilt. But most of what surrounded people until recently was irretrievably plundered, pilfered for urgent economic needs.
All these plots are united by one fact: - the artists photographically captured the reality surrounding them, without thinking about the subsequent interpretation of their creations by their descendants. And the descendants turned out to be ungrateful, they considered their great-great-great-grandfathers half-witted, dark, uneducated dreamers, inclined to exaggerate and embellish.
This is what all modern encyclopedias and reference books write about - "ruinistic" painting: - "_ SUBSTITUTE IN THIS PLACE THE NAME OF ANY OF THE ABOVE ARTISTS _ - is known for pictorial fantasies, whose main motive is parks and real, and more often imaginary" in the words of Diderot), many sketches for which he made during his stay in Italy.
Giovanni Paolo Pannini.
And should we believe this? Because the authority has spoken? And if I do not want to take their word for it and, seeing all this splendor, I cannot believe that the artist reproduced those buildings that have survived to this day with photographic accuracy, and those that are no longer there, he simply took out of his head! Why is this all of a sudden !?
The truth is that the artists did not invent anything, they documented the world around them, and we see that in the 18th century, by historical standards - YESTERDAY - the civilization of European peasant pastoralists, ruled by a handful of those who had more expensive rags on their bodies, existed on the ruins of gigantic megalithic structures, which they themselves clearly did not build.
Giovanni Paolo Pannini
And the seniors' explanation that in fact it was their ancestors who built it, but then the “era of medieval obscurantism” began, which lasted a thousand years, and everyone forgot how to build such a miracle … And they also forgot what the pyramids are for. And since it is not clear what to do with them, then they need to be declared "mausoleums" of Cestius, or some other emperor. Probably in order to then go on a tour of Egypt, and re-"open" the pyramids, only this time Egyptian.
Giovanni Paolo Panini.
So it turns out that the Colosseum is just a theater, so you can still see it today, but the pyramid could not be invented, that's why it was declared a "mausoleum". Quite in the spirit of their time, because the Egyptian pyramids, which had just been opened, were mistaken for the tombs of the pharaohs, therefore they transferred this concept to the pyramids in Rome.
It is not clear what the stele is made in the picture from Egypt, which, according to the official version, was brought only in the 19th century.
In this regard, I would like to ask a simple question and get a simple and intelligible answer to it. EGYPTOLOGISTS AND ARTISTICIANS, tell me, how could a man (Giovanni Paolo Pannini) depict an "imaginary" pyramid and stele in Rome if he died seven years before the "discovery" of the Egyptian pyramids and this stele? !!!
Giovanni Paolo Panini. "The Apostle Paul preaching in the ruins" (Apostle Paul in the Areopagus).
It is impossible not to notice the similarity between the sound of the words "areopagus" and "sarcophagus". I believe that there is every reason to believe that the source of the origin of words is the same. Yes, I know their official etymology. But I also know that the "ancient Greek" language is too young, it is even younger than Latin, and was written on the basis of Latin. It is also known that in these artificial languages, letters often replace each other. For example, previously there were no two letters "V" and "U", in both cases it was written: - "V". For example, "avgvst" and "august". The sound "F", existed in the form of a diphthong, and was written first as "P", then as "F", from which such a rule of writing this sound as the combination "PF" (phon - sound) remained.
Therefore, "Areopagus" could well have been originally "Areophagus". And if so, then the meaning of the word changes dramatically, filling Panini's picture with a different content. Let me remind you that "sarcophagus" means literally: - "devouring flesh", then areop (f) ag, will mean "devouring aria". Well, or, according to the scientists, "Ares devouring", or "Ares who devoured someone." However, this is only a suspicion. Not even a guess.
Giovanni Paolo Panini.
Giovanni Paolo Panini.
Giovanni Paolo Panini.
The pyramid, I must say, is depicted unusual. Now they are not being built. The proportions do not correspond, the ratio of the length of the base of the pyramid to its height is completely different than that of all the now known pyramids, even Egyptian, even American, even Chinese, even the same European ones (Visoko, in Bosnia). What kind of "stone cypress" is this? And it is clearly not a "mausoleum" any. I doubt that inside they had any cavities at all that could be used during operation. Then what is it? Well, not for the sake of the need for aesthetics, right? And some sort of "decorative" size.
For clarity, consider the "Pyramid of Cestius" (or Kestia?), Which is now being photographed by tourists:
Pyramid of Cestius. Rome. Italy.
It? Hardly. In the artist's painting, the proportions are different. Panini's "crooked eye"? Nobody will believe it. A person cannot perfectly maintain all proportions, all objects in the picture, except for the most important. So the conclusion: - Today tourists are shown a one hundred percent fake. Moreover, with obvious intent to mislead, regarding the original type of structure. Someone wanted to build their own, home Roman pyramid about the Egyptian project, only smaller. Well … As in the joke about a cat and a dog:
The dog asks:
- Who are you?
- A lion.
- Why is he so small?
- I was sick as a child …
Giovanni Paolo Panini. Arch of Titus.
And here is a less famous artist. But he also succumbed to the fashion trends for "catastrophism":
Caspar David Friedrich.
What else attracts attention. Sizes of ceilings and openings. For a normal, modern hobbit, as we all, judging by the pictures, with you, these dimensions seem indecent.
From the point of view of construction, it is not rational, too costly, too time consuming. From the user's point of view, it is meaningless and wasteful. A dwelling with such "airing" is not relevant even in a Mediterranean climate. It cannot be warmed in winter, and in summer there is no escape from the scorching rays of the sun.
And if the explanation for a radical climate change looks convincing, then all the other questions remain unanswered.
There are two versions, either the builders were giants, or for them to build such gigantic structures was like going to the store.
If they were giants, where did their remains go? All reports of the finds of giant skeletons, and even fingers or teeth, turned out to be falsifications. There were no humanoids of unusual size on earth, except for some unique ones. If they did, how did they manage to evacuate each and every one, and no one forgot their slippers?
Further there will be reproductions of paintings by the great Hubert Robert (Hubert_Robert), in my opinion - Yuri Robertovich, who is considered a student of the great Piranesi.
Huber Robert. Ancient temple, 1787.
Yes, we love to build something significant, bulky, influencing the psyche of a little person, like the building of the Moscow State University in Moscow, or the Fisht Arena in Sochi. But basically, we build ordinary cheburek houses and dormitories, which are called, by a misunderstanding, "houses".
But we have:
- schools and institutes for personnel training, - uniform standards (and this is a whole network of scientific institutions), without which large-scale construction is impossible, - mining, raw materials and energy industries, - industrial production of building materials, tools, fixtures, machines, and equipment, - developed system of transport and communications, - communication system, - centralized financial and budgetary spheres, - a unified management system (centralized power).
But according to scientists, the builders of all that splendor, the remains of which are captured in the paintings, could not have been in principle. Most believe it …
Hubert Robert.
In the absence of at least one of the listed conditions, large-scale construction is impossible. But even for their existence, a system of collection, analysis, and accumulation of scientific knowledge is required that does not exist. At least in the public domain.
All over it turns out that we are faced with the impossible. With advanced knowledge. And this pushes to "dump" into mysticism. Aliens flew in, shared technologies, or gods flew in, taught people … Etc.
Hubert Robert. Terrace in Marly.
Hubert Robert.
Hubert Robert.
Hubert Robert.
Hubert Robert.
I don't like both versions. I am not against the existence of other races, such as Atlanteans, Hyperboreans and Lemurians, but I am not entirely sure that they existed in the same world, or dimension with us. More precisely, I have doubts that we could interact with them in the physical plane. We already coexist with millions of life forms that really surround us, but we do not intersect in any way, do not see, do not hear, do not talk to them at all. From the word "absolutely"!
Therefore, without discarding all other versions, we will leave the only real one: - Everything that is depicted in the paintings was built by our ancestors, only the level of their development was incommensurable even with our present. We are like pets to them. Capable, quick-learning, but still common pets, like cats or dogs for us. Only much more useful. We know how to support ourselves, and even to feed the owners, unlike cats, for example, which do not feed us or clothe us, but on the contrary, we are slaves for them, we feed them.
Hubert Robert.
Hubert Robert.
I would venture to make an assumption. Just imagine, there are WE who produce spaceships and nuclear power plants, ships, airplanes, and rockets, and there are THEY. Those who feed on wicker baskets for fishing and snares for hunting birds. WE are helpless without a smartphone and a computer, and THEY are able to feel comfortable with a stick and a pointed tip made of bone, or silicon. Suddenly, WE start to share something.
A real "hot" world war begins, as a result of which the world turns into ruins. The remaining hobbits, deprived of electricity, computers, telephones, and flash drives with encyclopedias and manuals such as "How to grow wheat", or "How to get iron, and forge a knife out of it, with which you can stab yourself so as not to suffer", begin to reinvent ways hunting without firearms. And everything, everything starts from scratch.
But at the same time, a tribe continues to live in Chukotka, which does not learn anything about this war. THEY, as before, will raise and eat deer. And that's all … Do you seriously believe that someday this tribe will develop to the level when planes, ships, computers are required? It is highly doubtful. THEY have eaten deer for thousands of years and will continue to eat, because they do not need anything else! Not because they are backward, they are just "aliens". IM SO good. They have different life values, and they know that such happiness is not from fictional books and films, but from God the creator! They are one in this world with this world, but we are not. We need to build something, but we do not understand that by building one, we are killing another.
And what will happen as a result of a global war, in which fractions of a percent of the US who consider themselves civilized will survive? I guess it's obvious. People with spears and bows will come to the ruins of cities, where we will meet them, and "bless" with our "highly developed" democracy. We will teach THEIR skills, sufficient for them to work, and to reap the fruits of labor - WE. But 200 years will pass, and THEY will start asking questions and demanding more and more privileges for themselves. Doesn't it look like anything?
Hubert Robert.
I wonder what is there on the right, on the mountain? Alexandrian lighthouse? Or maybe the pedestal of the statue of the Colossus himself, after which the COLOSSIUM is named - the Colosseum?
Now again I suggest playing with words. This time - KOL AXIS. “UM” does not count. This ending is artificial, added to Latin when borrowing an incomprehensible foreign word. There was KOLOS, and in the Latin manner - KOLOSI (UM). What does the word KOL / KOLO mean in Russian, we know that this is the center of rotation (WHEEL, BELL, KOLOROROT, etc.), but connected in meaning, there is the word AX!
Only if KOLO is a broader concept meaning a circle, a circle, then OS / AXIS, this is a specific pin. It turns out that the rye, or wheat WHEEL was of paramount importance, it is understandable, "Bread is the head of everything." This means that the Colossus, whose statue was located next to the Colosseum, in the city that is now called Rome, was clearly not the spirit of water or fire.
- Part 2 -
Author: kadykchanskiy
