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Melanie Rawn & Jennifer Roberson & Kate Elliott - The Golden Key, książki, po angielsku, r

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The Golden Key
Melanie Rawn, Jennifer
Roberson, & Kate Elliott
 Since the 18th century, many painters have been obsessed with the idea of a Golden
Key—that is, a piece of knowledge, a formula or technical trick that would unravel the
mysteries of the art of painting. . . . The answer is, of course, that there is no such thing.
—J
ONATHAN
S
TEPHENSON
,
The Materials and Techniques of Painting
CONTENTS
PEINTRADDOS HISTORRICOS
GALERRIA
943
CHIEVA do'SANGUA
943-950
GALERRIA
1261
CHIEVA do'SIHIRRO
1262-1286
GALERRIA
1304
CHIEVA do'ORRO
1315-1316
GALERRIA
1347
PEINTRADDOS DEL TIRA
VIRTE
SELECTIVE LEXICON
ACKNOWLEDGMENTS
PEINTRADDOS HISTORRICOS
(from
History in Art
by Femandal Grijalva, privately printed, 940)
Golden Wind”
Yet the placement of his figure, far to the left of the
Serrano Family Collection. Action indicates that he is anything but the central focus of the
piece. Serrano is more interested in painting the fierce expressions
on Tza'ab faces even as they flee the battlefield, foreshadowing the coming century of vengeful
raids by the Riders on the Golden Wind.
Two other faces are of note. The Shagarra captain who slew the "Diviner" bears a striking
resemblance to Serrano's
Duke Alessio II,
an obvious flattery; the dying Tza'ab himself is strongly
reminiscent of the self-portrait of Bartollin Grijalva, Serrano's bitter rival.
Another commemorative painting, this one carefully researched for
Battle of Rio Sanguo, 818
accuracy of position, clothing, and detail. Alesso do'Verrada's like-
by Bartollin Grijalva, 918
.
ness was taken from
contempory drawings; eyewitness accounts
Oil on wood.
were consulted for placement of armies as well as individual fig-
ures The angle of sunlight is precisely what it was at the season,
day, and hour of the battle.
For all its exactitude, this painting is steeped in symbolism. Alesso's military genius is evident
in the arrayment of his troops but also in the designs embroidered on his cloak (leaves of oak and
mint for Bravery and Virtue, lupine flowers for Imagination, and so on). The wealth he gained by
marriage to an Anthalussan heiress is plainly displayed in the gold of his sword and spurs, and
more subtly in the patterns of corn and wheat in the tooling of his saddle. His nommo do'guererro,
"Shadow on the Golden Wind," is shown in the darkness falling on the barbarian about to die
beneath his sword—yet his eyes are not on his victim but on the Rider nearby, who will be the
one to kill him. The malevolent spirit of the Empress of Tza'ab Rih, instigator of the war, is seen
in the fallen larch tree nearby (Arrogance) and the flowers trampled beneath the hooves of
Alesso's horse: columbine for Folly.
The river where Alesso won his great triumph was renamed Rio Sanguo for the blood that
flowed that day. His son Renayo consolidated the victory by establishing Tira Virte's southern
borders; the contemporary Serrano painting commemorating Renayo's acclamation as Duke and
the founding of Tira Virte as a nation has been lost, but a partial sketch of it exists in the Galerria
Verrada Archives.
In 823, Duke Renayo chose as his bride Jesminia, sole heiress to
Death of Verro Grijalva
shagarra after her brother's death at Rio Sanguo. After their mar-
by Cabrallo Grijalva, 892. riage at her father’s castello
,
they journeyed home to Meya
Oil on wood.
Suerta—where a small caza was slowly becoming Palasso Ver-
rada—(but along the way disaster struck. The company was at-
tacked by a band of renegade Tza'ab, and though the Duke and
Duchess escaped harm, many courtiers were killed—including Renayo's dearest friend and
cleverest captain, Verro Grijalva.
This is the scene depicted here: violent in composition and color, vibrant with motion. Duke
This is a typical Serrano painting: a scene from history—
Death of the Tza'ab, 716
romanticized, politicized, and lacking all symbolism—
by Grimaldo Serrano, 916. commemorating the death in battle of the Tza'ab "Diviner of the
Oil on wood.
Galerria Verrada.
Galerria Verrada.
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