The apostles James and Philip Albrecht Dürer (1471-1528)
Albrecht Dürer – The apostles James and Philip
1516. 46x38
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Painter: Albrecht Dürer
Location: Uffizi gallery, Florence (Galleria degli Uffizi).
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FOUR GARDENS
Four gardens of the spirit are given to us,
In shades of perception -
So that we do not fall into a pit of despair,
But may open our hearts to love.
John is deeply mystical,
The other three gardens are clearer to us.
Alas! Sins weave a fog,
More dense than any before.
Four gardens... and one...
Our thoughts have grown dim.
But our heavenly Lord
Still endures our flaws.
* * *
Through the mystical garden of John,
How clear is earthly life to us?
A meadow of golden light,
A wave of azure light.
Are there not many changes in the world?
They all went into materiality.
Our inability to see more broadly
Torments us within the confines of earth.
The word that gave life and reality,
We trade for words, and live
A dead life – so banal.
We accept distortion over truth.
And forgetting the infernal threat,
We rush about, we sing...
* * *
Dim thoughts on earth,
We have distorted the true speech.
We are constantly rummaging in ashes,
Considering them to be gold.
Grass, forests, water... what if
They speak no less than Matthew?
You shiver, wondering,
Included in the circle of life?
But it is necessary to chip away from the heart -
Could it be? – the stony flesh,
Then, with a soul within your heart,
You will touch true water,
Drink it and escape misfortune,
And warm yourself with truth.
* * *
Mark is a vault of radiant heights,
Corresponding to the overall harmony,
So that we do not perish in the pit
Of our passions, others generosity.
Mark is a malachite sheen,
A wave, and greenish moss.
... and when you approach the point,
How terrifying is the roar of perspectives?
You – not Mark, you are human,
Who curses a long-lasting Thursday -
You do not understand
The meaning of unique words,
That come with the power of foundations,
Whose light is always lost in everyday life.
* * *
(... the word is green, the word is jasper...)
Old Luke is toiling.
For what victory he would give up, but
Victory is so far away.
Here is Christ, He is near them.
Dialogue with life is complex.
Or has a person, wretched,
Frozen under the gaze of the future?
Unique pictures
Of breathing existence.
Again, I see reasons for despair.
May my soul gather carmines from heaven!
Изменений не много ли в мире?
Все они в матерьяльность ушли.
Неумение видеть пошире
Нас изводит в пределах земли.
Слово, давшее жизнь и реальность,
Разменяв на слова, мы живём
Жизнью мёртвых – такая банальность.
За прямую приемлем излом.
И грозящую нам инфернальность
Позабыв, суетимся, поём...
Александр Балтин.
Очень нравится. В каждом слове есть смысл.
You cannot comment Why?
The figure on the left displays a weathered countenance, marked by deep lines etched into his skin. A full, flowing white beard dominates the visual field, its texture rendered with considerable skill to suggest both volume and fragility. He is draped in a crimson garment, partially obscured by a dark shawl or cloak fastened at the neck with an ornate clasp. His gaze is directed downwards, suggesting humility or contemplation. Inscribed above his head are Latin phrases indicating his identity and the year of creation.
The figure on the right presents a similar impression of advanced age. Here too, a long white beard cascades down his chest, though its arrangement differs from that of the first subject, exhibiting more pronounced curls. His expression is one of quiet solemnity; his eyes appear to be fixed on an unseen point beyond the viewer. He wears a simple brown robe, and the lighting highlights the contours of his face, emphasizing the depth of wrinkles and the subtle nuances of skin tone. The inscription above this figure mirrors that of its counterpart, providing identification and date.
The artist’s technique demonstrates a keen understanding of anatomy and an ability to capture the effects of time on the human form. The rendering of hair is particularly noteworthy; each strand appears individually defined, contributing to a sense of realism and tactile presence.
Subtly, the diptych conveys themes of faith, endurance, and spiritual devotion. The men’s aged appearances suggest lives dedicated to religious service, their expressions hinting at inner peace and acceptance. The dark backgrounds create an atmosphere of introspection, inviting viewers to contemplate the subjects inner worlds. The inscriptions serve not only as identifiers but also as a reminder of the historical context and the enduring power of faith. The pairing of these two portraits suggests a connection between them, perhaps representing complementary aspects of spiritual leadership or shared experiences within a religious community.