Parrots, Princes, and Popes: Translatio Imperii in Jean Clouet’s Portrait of Francis I as St. John the Baptist

Athanor Pub Date : 2024-02-02 DOI:10.33009/fsu_athanor134932
Emily DuVall
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Abstract

At first glance, a green parrot featured in Jean Clouet’s Portrait of François Ier as St. John the Baptist appears out of place. The parrot was a prized import that graced Europe upon Alexander the Great’s victorious return from the Persian Empire and India. Why is this foreign bird exhibited in a sixteenth-century French royal portrait? Repeated in a portrait of François’ sister, it becomes apparent that the green parrot was no casual inclusion. François’ green parrot contains a complex visual message. Considering the implications of the parrot and the ambitions of François, this paper will argue that the appearance of this particular bird served to glorify and endorse a new branch of the royal House of Valois.
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鹦鹉、王子和教皇:让-克鲁瓦(Jean Clouet)的《施洗者圣约翰弗朗西斯一世肖像》中的 "国王翻译"(Translatio Imperii
乍一看,让-克鲁瓦(Jean Clouet)的《施洗者圣约翰弗朗索瓦-艾尔肖像》中的一只绿色鹦鹉显得格格不入。鹦鹉是一种珍贵的舶来品,亚历山大大帝从波斯帝国和印度凯旋归来时,这种鹦鹉为欧洲增添了光彩。为什么这种外国鸟会出现在十六世纪的法国皇室肖像中?在弗朗索瓦妹妹的肖像画中,绿鹦鹉的出现显然不是偶然的。弗朗索瓦的绿鹦鹉蕴含着复杂的视觉信息。考虑到鹦鹉的含义和弗朗索瓦的野心,本文将论证这种特殊鸟类的出现是为了美化和认可瓦卢瓦王室的一个新分支。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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