Thursday, August 23, 2007

Ever Wonder? Carnivale in Venice



Mask. Masks are an intriguing icon of human expression. They can be thought of as trans formative, freeing, imitative, expressive, creative or simply coy. I have always been intrigued by masks. They evoke a movement in my eyes, emotions, and feelings of instinct. I now am taking you on a journey to the Italian Renaissance. "Venice, Mother. Goddess." Will you join me for a dance?

Carnevale di Venezia or simply, Carvival of Venice.

The first recorded Carnival of Venice was in 1268. The entering of this application of expressionism was fueled by the restrictive laws that often banned public celebrations. Particularly, the wearing of masks was prohibited.
That was the law, my little scribes.


The display of masks paraded through the piazza's between the festival of Santo Stefano (St. Stephans Day, December 26) and Shrove Tuesday (day before Ash Wednesday). The finest and most ravish parties would take place in more discreet locations. Hence, most people were given the freedom to modify there personalities behind a shield of marvelous colour and craftsmanship, almost all year long.



The sheer elegance of the sights of these masks is appealing because they never reveal the stillness of one focus. They are encouraging of imagination, colour, a life of wealth and wine. Perhaps a roaring ballroom, finished with gold leaf and images and adornments that reflect the creationism of man's images of beauty.

Venetian masks can be either leather of in the technique of papier-mache. The central purpose of all masks remains constant: they are an transformative, whether logically or symbolically. Though simply adornment with lavish personification, these works of art tended to convey a far more complicated reflection of human imagination and escapism. Of the Italian Renaissace culture and the city's most vivid creative spirit. Perhaps an early revealing of the school of Venetian art that gained appreciation in the High Renaissance.

Masks are an illusion of imagination. Whether we choose to hide behind a mask, or allow it to exemplify our spirit of expressionism in public, we still remain our ordinary selves in private. Public and private persona can be two strongly opposing forces. Each of these two realms, attempts to negotiate identity politics and the journey for self-understanding, through the facade of mask(ing).
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