cuadernosИбероамериканские тетрадиCuadernos Iberoamericanos2409-34162658-5219MGIMO10.46272/2409-3416-2025-13-2-107-127cuadernos-689Research ArticleИБЕРОАМЕРИКА: ПРОСТРАНСТВО И ПРЕДМЕТНЫЙ МИРIBERO-AMERICA: SPACE AND MATERIAL WORLDСерия «Аллегории пяти чувств» из Прадо: аллегория, гирлянда и синестезия в творчестве П.П. Рубенса и Я. Брейгеля СтаршегоThe «Allegory of the Five Senses» Series from the Prado: Allegory, Garland and Synesthesia in the Works of Peter Paul Rubens and Jan Brueghel the ElderХуЭ. Д.HuA. J.

Элис Джоан Ху, аспирант кафедры истории западноевропейского искусства Института истории

199034, Санкт-Петербург, Университетская набережная, 7/9

Alice Joan Hu, PhD student at the department of History of Western European Art

199034, Russia, Saint Petersburg, University Embankment, 7/9

bepahuhu@gmail.comСанкт-Петербургский государственный университетРоссияSaint Petersburg State UniversityRussian Federation202516072025132107127Copyright © Ху Э.Д., 20252025Ху Э.Д.Hu A.J.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.iberpapers.org/jour/article/view/689

Серия картин «Аллегории пяти чувств», созданная Питером Паулем Рубенсом и Яном Брейгелем Старшим и хранящаяся в музее Прадо в Мадриде, представляет собой достижение художественного сотрудничества и сотворчества двух великих художников XVII в. и является примером синестезии во фламандской живописи. В работах Рубенса и Брейгеля чувственное восприятие — зрение, слух, обоняние, вкус, осязание — изображаются через аллегорические женские фигуры на фоне пейзажей, окруженные множественными натюрмортами. Цветочные гирлянды, как символы красоты и жизненного расцвета, выступают не только как декоративные элементы, но и как связующие звенья между физическим ощущением и его зрительным представлением. В статье рассматривается сложность и концептуальная целостность этих произведений, а также их живописное богатство, реализующееся в жанре kunstkammer — изображения кабинетов, наполненных символическими знаками знаний и эмоционального опыта. Исследование опирается на иконографический и стилистический анализ, привлекает малоизвестные источники, включая каталоги выставок и архивные материалы, что позволяет предложить новое прочтение характера взаимодействия фигур, элементов гирлянд и предметного окружения. Аллегорические и цветочные мотивы, характерные для фламандского и испанского искусства XVII в., приобретали особый акцент в контексте Контрреформации. Работы создавались художниками в рамках культурной политики эрцгерцогов Альбрехта VII (1598–1621) и Изабеллы Клары Евгении (1598–1633), наместников испанской короны в Южных Нидерландах, и отвечали задачам использования искусства как средства политической и идеологической стратегии власти для воплощения идеи процветания и гармонического благополучия Фландрии как испанского владения

«Allegories of the Five Senses», a series of paintings by Peter Paul Rubens and Jan Brueghel the Elder held in the Prado Museum, is the result of artistic cooperation and co-creation of two great painters of 17th century and an example of synesthesia in Flemish painting. The works of Rubens and Brueghel portray the five senses (sight, hearing, smell, taste, and touch) through allegorical female figures set in landscapes and surrounded by multiple still lifes. Flower garlands, being symbols of sensory experience, serve not only as decorative elements but also as links between physical sensation and its visual representation. The article explores the complexity and conceptual integrity of these works, as well as their visual richness within the kunstkammer («cabinet of curiosities» / «wonder-rooms») genre, which depicted cabinets filled with symbols of knowledge and represented sensory experience. The research is based on iconographic and stylistic analysis and draws on lesser-known sources, including exhibition catalogues and materials from archives. This approach allows for a new interpretation of the interaction between figures, garland elements, and surrounding objects. Allegorical and floral motifs typical of 17th-century Flemish and Spanish art gained a new meaning in the context of the Counter-Reformation. These works were part of the cultural policy of Archdukes Albert VII (1598–1621) and Isabella Clara Eugenia (1598–1633), governors of the Spanish Netherlands: art was a tool of political and ideological strategy of the state and sought to convey the image of prosperity and welfare of Flanders as a territory under the dominion of the Spanish Crown.

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The authors declare that there are no conflicts of interest present.