By Sabine Rewald
Caspar David Friedrich (1774-1840), a massive determine within the German Romantic stream, painted chic works representing nature at its so much melancholic and desolate. one in every of his most renowned motifs used to be that of 2 intimate figures, noticeable from in the back of, observing on the moon. Friedrich painted 3 models of this subject matter, one among which -"Two males considering the Moon" - has been bought by way of The Metropolitan Museum of paintings. The textual content discusses the Metropolitan's portray at the side of the opposite types and a few comparable work and drawings by means of Friedrich and his Dresden neighbors. It additionally provides attention-grabbing information about the moon itself - together with what used to be recognized approximately it in Friedrich's lifetime and its presence and symbolism in modern Romantic poetry.
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Extra resources for Caspar David Friedrich: Moonwatchers
Chapter 5 charts the “bitextual boom” of the second millennium and the reasons that may have led to such a boom and to the continued eﬄorescence of ślesa in the late medieval and early modern periods. At the center of each of these chapters stands a close examination of the work of one representative author. In chapter 2 it is Subandhu, the prose master and the great pioneer of ślesa. Chapter 3 looks at the work of Nītivarman, who masterfully employed ślesa to portray the disguised protagonists of the epic.
Subandhu clearly and consistently privileges the internal love vision of the dreamer over conventional reality. Subandhu can be seen as taking an inner turn from love as part of a divine plan, played out in the social, political, and universal arenas, to love as a private human matter, enacted primarily in people’s hearts and dreams and then forcing the world to comply. If this is the case, perhaps this turn can also be associated with his focus on a certain kind of descriptive language. Consider again the role of visual art in the story of Usā and Aniruddha, where a sketch enables the lovers’ union after their encounter in a dream.
Vāsavadattā, the parrot reports, declined to choose a suitor, and it is after this futile event that she dreams of Kandarpaketu and wakes up equally in love. At the end of the story Tamālikā, a messenger accompanying the parrot, presents Kandarpaketu with a love note from Vāsavadattā. a in subandhu’s prose l ab The third portion of the work consists entirely of the events of the following night, with a particularly lengthy description of the nightfall itself. Once the moon is out, Kandarpaketu leaves for Vāsavadattā’s city, ﬁnds her home, and meets the princess, the beloved of his dream.