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首页> 外文会议>International Conference on Art Studies: Science, Experience, Education >Hermit VS Hermeticism: Hermits and the Hermetic Tradition in European Art of the Seventeenth and Eighteenth Centuries
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Hermit VS Hermeticism: Hermits and the Hermetic Tradition in European Art of the Seventeenth and Eighteenth Centuries

机译：隐士vs密封主义：欧洲第十七世纪艺术中的隐士和密封传统

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The article focuses on the prehistory of garden "hermitages" and their direct connection with the cult of hermits and seventeenth-century hermeticist philosophers endowed with esoteric knowledge. By tracing the iconography of hermits in painting, literature and the Taro cards and analyzing the reasons for their popularity, the author demonstrates the affinity, characteristic of the seventeenth century, between the image of a recluse and not so much Christian recluse philosophers as magi and natural philosophers who were privy to "secret knowledge". It was their secluded abodes full of books and instruments to study nature, as well as alchemist laboratories, that served as a model for the early high-society "recluses" who built hermitages on their estates as the so-called "philosophical studies" that were indeed intended for secluded studies or merely symbolized that the owner embraced the hermeticist tradition.
机译：这篇文章侧重于花园“冬宫”的史前，与富裕的崇拜和十七世纪的密封师的直接联系，赋予了宇宙的知识。通过追踪绘画，文学和芋头卡中的隐士的图标，并分析了他们受欢迎程度的原因，作者展示了十七世纪的亲和力，在唯一的形象之间的形象，而不是如此多的基督徒作为Magi的哲学家自然哲学家，众所周知为“秘密知识”。这是他们僻静的住宿，充满了书籍和乐器，以研究性质，以及炼金术主义实验室，作为早期高社会“康复”的模型，他们在其遗产上建造了持久性，因为所谓的“哲学研究”确实旨在思考僻静的研究，或者只是象征着主人拥抱了密封的传统。

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