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1999
- 20.500.13089/4ip5
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https://hdl.handle.net/20.500.13089/4ggs
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https://doi.org/10.4000/books.psn
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info:eu-repo/semantics/altIdentifier/isbn/978-2-87854-856-3
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info:eu-repo/semantics/openAccess , https://www.openedition.org/12554
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Portraits, etc Portraits, caricatures, etc Portraits, etc Portraits, caricatures, etc Portraiture Beauty Esthetics Beautiful, The Taste (Aesthetics)Citer ce document
Raphaëlle Costa De Beauregard, « Le masque de la royauté », Presses Sorbonne Nouvelle
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Résumé
The Elizabethan mask is an avatar of the Elizabethan mirror. As such the portraits of Queen Elizabeth exhibit specific semiotic features all attributable to the aesthetics of the Queen’s Court Miniaturist Nicholas Hillliard.Queen Elizabeth I’s mask is an embodiment of genealogy and identity. It is a dynastic mirror: it echoes other European court portraits and it uses the emblem of the tree. It is also a reflexive mirror borrowing from social rituals (progresses, gifts) and political theory (body politic/body natural) for the patterns of its style.The genesis of the royal mask shows Hilliard’s aesthetics spring from hybrid models which all have in common a classical conception of the portrait as the representation of a privileged time — as in drama.The royal image dramatizes the sovereign in images of immanence: kingship, justice, peace and prosperity, as well as of transcendance: chastity and love, glory and eternity. This is done in two specifc masks, the “imperial mask” and the “mask of beauty”.Images are not a mere reflection of the world which would have produced them. Images are masks: they collect fragments from the world and rearrange them into significant and specific symbolic patterns. The two masks of Queen Elizabeth examined in this paper show the very essence of kingship lies in its icons.
