Heron Print Royal Pavilion Orient Nights
£40.00 – £310.00
‘Heron Print Royal Pavilion Orient Nights’
This ‘Heron Print’ shows two dancing herons in front of the Brighton Royal Pavilion. This royal residence was built at the banks of the Steine river. Historically this area of marsh land would have been teaming with wildlife. This art print celebrates that past when nature was closer to us.
Digital pigment print from original ink drawings. Printed on fine art paper using archival inks. Available in sizes A0,A1, A2, A3 or A4 as limited editions of 100. Each print is individually signed and numbered.
The Heron in history and symbolism.
A brief research lead me to some interesting facts about the heron
- Isidore of Seville in the 6th and 7 Century wrote his Etymologiae. It was an etymological encyclopaedia that assembled extracts of many books from classical antiquity that would have otherwise been lost. In the Book 12, chapter 7:21 the heron (Ardea) is described and says:
And that the heron dared to fly.
It is afraid of rainstorms, and flies above the clouds so
that it cannot feel the storms in the clouds, and whenever
it flies higher, this indicates a storm.
- In Japan, the white heron is deemed unique for its ability to move between three elements: air, earth, and water. Locals herald the graceful white bird as a symbol of good luck.
- In Christian tradition, the heron may represent Christ, for it preys on eels and snakes, serpentine symbols of Satan. Its probing beak has furthermore prompted comparisons with the search for hidden knowledge, and consequently with wisdom
- In Chinese culture, the crane is venerated as the prince of all feathered creatures and thus has a legendary status. Embodying longevity and peace, it is the second most favoured bird symbol after the phoenix.
- Herons are symbols of good luck and patience in many Native American tribes. Like cranes, Indian herons are also sometimes associated with vanity and a weakness for flattery.
Heron print at the Brighton Royal Pavilion
The Brighton Royal Pavilion is a wonderful source of inspiration for art.
John Nash remodelled The Brighton Royal Pavilion into what we can see today in glorious Indo-Saracenic style. The works of the Marine Pavilion began in 1815 and took seven years to complete. George chose architect John Nash who proposed an Indian style in response to the design of the new stable block. Nash was also inspired by landscape gardener Humphrey Repton (who had published designs for a new palace based on Indian architectural forms) and based many of his ideas on a publication called Oriental Scenery by Thomas and William Daniell (1795-1808).
The complex composition of domes, towers and minarets created a romantic exterior. Either side of the central large dome are two towers that serviced the interior rooms over the Saloon, one with a staircase, the other with a hoist. To achieve a picturesque effect the rendered surfaces of the Royal Pavilion were painted to create a unified vision of a building made of Bath stone.
The interior is fitted in chinoiserie style and herons are depicted in wonderful hand painted wall papers in different rooms.
Alcazar de Sevilla. Patio de las Doncellas
The sky in this print is reminiscent of the tile decorations of the Alcazar Palace in Seville.
The Royal Alcázars of Seville, historically known as al-Qasr al-Muriq and commonly known as the Alcázar of Seville, is a royal palace in Seville, Spain, built for the king Peter of Castile. The palace has many wonderful buildings and gardens though my favourite is the ‘Patio de las Doncellas’. This courtyard (patio in Spanish) was the centre of the public area of King Peter I Palace. It is surrounded by poly lobed arches, one of the most characteristic decorative motifs of the Almohad dynasty, along with the sebka style. The shell (symbol of fertility and life), the Hand of Fatima, (synonymous of protection), geometric compositions, schematic plant decoration and Kußc Arabic epigraphy complete the decorative language of this courtyard. The gallery surrounding the main courtyard is composed of epigraphic decoration made of plaster. The bottom of the walls are decorated with ceramics, following the “alicatado” technique. The central part of the Maidens Courtyard was covered with marble slabs, with a Renaissance fountain during almost 500 years. After the archaeological excavations of 2005, it was restored as established in the fourteenth century.
I have named the colour palette for this collection ‘Orient Nights’. It combines steel blue hues and mustard seed tones reminiscent of far away whispered tales and legends. It echoes memories of India, Turkey and Morocco. Nights spent by streams, on roadside cafes with fairy lights and tented roofs, next to ancient temples, cobbled roads and life as it presents itself.
|Print sizes: standard landscape||
Art print A0 size landscape, Art print A1 size landscape, Art print A2 size landscape, Art print A3 size landscape, Art print A4 size landscape
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