About the Sequence of the Tapestries in "The Hunt of the Unicorn" and "The Lady with the Unicorn"

Nickel, Helmut

doi:10.2307/1512782

Cited by 3 publications

(2 citation statements)

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“…There has been a discussion about whether the Le Viste coat of arms on The Lady with the unicorn tapestries is brisé (differentiated by adding a change) or not. 24 In heraldry it is not permitted to have a shield with a color onto a color or a metal onto a metal; and the arms on the Le Viste tapestries present the azure (blue) onto the gules (red). Their description is gules, a bend azure charged with three crescents argent.…”

Section: The Successive Owners Of the Tapestriesmentioning

confidence: 99%

The Lord and the Allegories of The Lady with the Unicorn

2020

IJAAH

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The tapestries entitled The Lady with the unicorn are one of the most commented pieces of art. Instead of starting from a hypothetical person, and generation by generation arrive at the Boussac castle where the tapestries were located for the first time, the present research starts with a fact, the Boussac castle, and by continuing generation by generation backwards in time, identifies Jean IV Le Viste as the lord these tapestries were created for. The currently assumed interpretation claims that the six hangings are part of the same series which is allegedly complete, depicting the five senses. However, a careful research -based on iconographical data, and on a meticulous review of the technique, the scenography, the heraldic differences, and the attributes expressed by some animals displayed in a specific way on these scenes -makes clear that they do not belong to the same sequence; they are the remains of four different sets.

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Section: The Successive Owners Of the Tapestriesmentioning

confidence: 99%

The Lord and the Allegories of The Lady with the Unicorn

2020

IJAAH

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“…On the À Mon Seul Désir tapestry the virgin presents her jewellery in a case which is held by her servant, in this way relinquishing material goods and turning toward what is obviously her one true desire, and according to some it is love. An interpretation also exists that here the tapestry represents the sense of touch a second time, yet most interpreters claim that the final tapestry represents the relinquishing of all earthly material goods [23]. The key to viewing the film Legend perhaps lies in the fact that all the negative things in this film where nothing more than the figments of Lili's dream.…”

Section: The Film Legend and The La Dame à La Licorne Tapestrymentioning

confidence: 99%

The Unicorn in the Symbolic and Semantic Expression of the Film Director Ridley Scott in the Context of Medieval Bestiaries

Babić¹,

Vekić²

2018

JSS

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This paper observes and researches the relations between symbolic unicorn representation in Ridley Scott's movies Blade Runner and Legend comparing it to the medieval bestiary descriptions and representations. The goal in this research is to determine is Scott's imagery different from the medieval one and authors tend to research and compare that relation in this analysis. In the art of film, the unicorn most often makes its appearance as an objectively presented mythic animal, and, as such, represents the specific symbols with which it is attributed. The English film director Ridley Scott uses the motif of the Unicorn in order to expand semantic value. Scott's cinema unicorns are very similar to those in medieval bestiaries and representations, yet there are nuances in meaning which propose the specifics of this unicorn motif in contemporary representation in relation to medieval bestiaries. In the film Blade Runner (1982), the explicit symbolic and metaphorical value of the unicorn can be observed, and this can also be found (in an even more intense form) in the film Legend (1985) in which the semantic component is clearly defined by medieval bestiaries and medieval representations. The director's relationship towards this mythic animal is a reflection of his artistic approach to film, which will be investigated here in the context of the author's specifics within the film industry.

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Three Fragments of the "Mystic Capture of the Unicorn" Tapestry

Colburn¹

2010

Metropolitan Museum Journal

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About the Sequence of the Tapestries in "The Hunt of the Unicorn" and "The Lady with the Unicorn"

Cited by 3 publications

References 0 publications

The Lord and the Allegories of The Lady with the Unicorn

The Lord and the Allegories of The Lady with the Unicorn

The Unicorn in the Symbolic and Semantic Expression of the Film Director Ridley Scott in the Context of Medieval Bestiaries

Three Fragments of the "Mystic Capture of the Unicorn" Tapestry

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