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originally posted by: Brotherman
a reply to: Anaana
Its not what you think =D the chihuahuas are seperate drawings from the bath tub too =D
originally posted by: Brotherman
a reply to: Anaana
lol nah two different subjects for 2 different pieces
In 1947, Wilhelm Fraenger argued that the triptych's center panel portrays a joyous world when humanity will experience a rebirth of the innocence enjoyed by Adam and Eve before their fall.[4] In his book The Millennium of Hieronymus Bosch, Fraenger wrote that Bosch was a member of the heretical sect known as the Adamites—who were also known as the Homines intelligentia and Brethren and Sisters of the Free Spirit. This radical group, active in the area of the Rhine and the Netherlands, strove for a form of spirituality immune from sin even in the flesh and imbued the concept of lust with a paradisical innocence.[91]
Fraenger believed The Garden of Earthly Delights was commissioned by the order's Grand Master. Later critics have agreed that, because of their obscure complexity, Bosch's "altarpieces" may well have been commissioned for non-devotional purposes. The Homines intelligentia cult sought to regain the innocent sexuality enjoyed by Adam and Eve before the Fall. Fraenger writes that the figures in Bosch's work "are peacefully frolicking about the tranquil garden in vegetative innocence, at one with animals and plants and the sexuality that inspires them seems to be pure joy, pure bliss."[92] Fraenger argued against the notion that the hellscape shows the retribution handed down for sins committed in the center panel. Fraenger saw the figures in the garden as peaceful, naïve, and innocent in expressing their sexuality, and at one with nature. In contrast, those being punished in Hell comprise "musicians, gamblers, desecrators of judgment and punishment".[34]
originally posted by: Brotherman
Then again you and I have conversed both here and privately for a time now, I can imagine you would not believe I am a bigot. Also I think you are the type that surely agrees when one can make an assessment on a person based on their own personal merits and flaws, an ism makes whole groups apparently elevated above an individual.
Postmodernism describes both an era and a broad movement that developed in the late-20th century across philosophy, the arts, architecture, and criticism which marked a departure from modernism.[1][2][3] While encompassing a broad range of ideas and projects, postmodernism is typically defined by an attitude of skepticism or distrust toward grand narratives, ideologies, and various tenets of Enlightenment rationality, including the existence of objective reality and absolute truth, as well as notions of rationality, human nature, and progress.[4] Instead, it asserts that knowledge and truth are the product of unique systems of social, historical, and political discourse and interpretation, and are therefore contextual and constructed. Accordingly, postmodern thought is broadly characterized by tendencies to epistemological and moral relativism, pluralism, self-referentiality, and irony.[4]