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  • ืชืžื•ื ืช ื”ืกื•ืคืจ/ืชShlomit Oren

ืฆื™ื•ืจื™ ืื‘ื™ื‘

ืขื•ื“ื›ืŸ: 8 ื‘ืกืคื˜ืณ 2020

ื‘ื™ืŸ ื”ืงื•ืจื•ื ื” ืฉื”ืฉืชืœื˜ื” ืœื ื• ืขืœ ื”ื—ื™ื™ื ื•ื”ืขื ื™ื™ื ื™ื ื”ืคื•ืœื™ื˜ื™ื™ื ืฉืžืขืกื™ืงื™ื ืืช ื›ื•ืœื ื•, ืื•ืœื™ ืฉื›ื—ืชื ืฉื”ืื‘ื™ื‘ ื”ื’ื™ืข.

ืื– ื”ื ื”, ืื ื™ ื›ืืŸ ื›ื“ื™ ืœื”ื–ื›ื™ืจ ืœื›ื ืืช ื–ื” ืขื ื“ืจื™ืฉื•ืช ืฉืœื•ื ืฉืœ ืฆื™ื•ืจื™ื ืžืจื”ื™ื‘ื™ื ืžืชืงื•ืคื•ืช ื•ืžืงื•ืžื•ืช ืฉื•ื ื™ื.


ื”ืื‘ื™ื‘ ื”ื•ื ืชืงื•ืคื” ืฉืœ ืคืจื™ื—ื” ื•ื”ืชื—ื“ืฉื•ืช, ื•ื’ื ืื ืื ื—ื ื• ืกื’ื•ืจื™ื ื‘ื‘ื™ืช, ื”ืจื™ ืฉืืคืฉืจ ืœืจืื•ืช ืฉื‘ื—ื•ืฅ ื”ื˜ื‘ืข ืžืžืฉื™ืš ื‘ืฉืœื•, ืื“ื™ืฉ ืœืงื•ืจื•ื ื” ื•ืขื ื™ื™ื ื™ื ืื—ืจื™ื. ืืฆืœื™ ื‘ื’ื™ื ื” ืขืฅ ื”ืžื ื’ื• ื”ื•ืชื™ืง ืขืžื•ืก ืชืคืจื—ืช (ื‘ืชืงื•ื•ื” ืฉื™ื”ื™ื” ื™ื‘ื•ืœ ื˜ื•ื‘ ืฉืœ ืคื™ืจื•ืช ื”ืฉื ื”), ืขืฅ ื”ืฉื–ื™ืฃ ืฉืขืžื“ ืงืจื— ื›ืœ ื”ื—ื•ืจืฃ ื”ืชื—ื™ืœ ืœืœื‘ืœื‘ ื•ื’ื ื”ืกื—ืœื‘ื™ื ื‘ืชื•ืš ื”ื‘ื™ืช ืคื•ืจื—ื™ื ื•ื’ื•ืจืžื™ื ืœื™ ืœื—ื™ื•ืš ื˜ืคืฉื™. ืžืงื•ื•ื” ืฉื’ื ืœื›ื ื™ืฉ ืื™ื–ื” ืฆืžื— ืื• ืคืจื— ืฉืžืขื•ื“ื“ ืืช ืจื•ื—ื›ื.


Flora, allegory of Spring, fresco, Naples
Flora, allegory of Spring, fresco, Naples

ืื—ื“ ืžืฆื™ื•ืจื™ ื”ืื‘ื™ื‘ ื”ืžื•ืงื“ืžื™ื ืฉืฉืจื“ื• ื”ื•ื ืฆื™ื•ืจ ื”ืงื™ืจ 'ืคืœื•ืจื”' ื‘ื•ื™ืœื” ื‘ืคื•ืžืคื™ื™. ืœืžืจื•ืช ื”ืฉื ื™ื ื•ื ื–ืงื™ ื”ื–ืžืŸ, ืฉื™ืœื•ื‘ ื”ืฆื‘ืขื™ื ื”ืขื“ื™ืŸ ื•ื”ืงื•ืžืคื•ื–ื™ืฆื™ื” ื”ืžืงื•ืจื™ืช ื’ื•ืจืžื™ื ืœืœื™ื‘ื™ ืœื”ืชืจื—ื‘.


Primavera, Sandro Boticelli, ื”ืื‘ื™ื‘
Primavera, Sandro Boticelli, circa 1480

ืžื™ ืœื ืžื›ื™ืจ ืืช ืืœื’ื•ืจื™ื™ืช ื”ืื‘ื™ื‘ ืฉืœ ื‘ื•ื˜ื™ืฆ'ืœื™. ื”ืฆื™ื•ืจ ื”ืขืฆื•ื, ืฉื ืžืฆื ื”ื™ื•ื ื‘ื’ืœืจื™ื™ืช ื”ืื•ืคื™ืฆื™ ื‘ืคื™ืจื ืฆื”, ืฆื•ื™ื™ืจ ืกื‘ื™ื‘ื•ืช 1480 ื‘ื”ื–ืžื ืชื• ืฉืœ ื‘ืŸ ืžืฉืคื—ืช ืžื“ื™ืฆ'ื™ ื›ืžืชื ื” ืœืื™ืฉืชื•. ื‘ื•ื˜ื™ืฆ'ืœื™ ื‘ื™ืงืฉ ืœื”ืฉืชื—ืจืจ ืžื”ื“ื™ืžื•ื™ื™ื ื”ื“ืชื™ื™ื ืฉืœ ื”ื›ื ืกื™ื™ื” ื”ืงืชื•ืœื™ืช ื•ืคื ื” ืœื›ื™ื•ื•ื ื™ื ื”ื•ืžื ื™ืกื˜ื™ื™ื ื™ื•ืชืจ ืฉืฉืื‘ ืžื”ืžื™ืชื•ืœื’ื™ื” ื”ื™ื•ื•ื ื™ืช ื•ื”ืจื•ืžื™ืช. ื‘ืžืจื›ื– ื”ืชืžื•ื ื” ืื ื—ื ื• ืจื•ืื™ื ืืช ื•ื ื•ืก, ืžืฆื™ื“ื” ื”ืื—ื“ ืฉืœื•ืฉ ื”ื’ืจืฆื™ื•ืช ืจื•ืงื“ื•ืช ื‘ืžืขื’ืœ ื‘ืขื•ื“ ืžืจืงื•ืจื™ ืžืจื—ื™ืง ืžื”ืŸ ืฉื‘ืจ ืขื ืŸ. ื‘ืฆื™ื“ื” ื”ืฉื ื™ ืคืœื•ืจื”, ื”ืจื™ ื”ื™ื ืืœืช ื”ืื‘ื™ื‘, ืขื˜ื•ื™ื™ื” ื›ื•ืœื” ืคืจื—ื™ื. ื›ืžื” ื™ื•ืคื™.


ืื‘ื™ื‘ - ืื™ืฉ ืขืฉื•ื™ ืคืจื—ื™ื
Spring, Giuseppe Arcimboldo, 1563

ื’'ื•ื–ืคื” ืืจืฆ'ื™ืžื‘ื•ืœื“ื• ืฆื™ื™ืจ ืกื“ืจื” ืฉืœ ืขื•ื ื•ืช ื”ืฉื ื” - ื“ื™ื•ืงื ืื•ืช ืื ื•ืฉื™ื™ื ืฉืขืฉื•ื™ื™ื ื›ื•ืœื ืžื”ืฆืžื—ื™ื™ื” ืฉืžื™ื™ืฆื’ืช ืืช ื”ืขื•ื ื” ื‘ื”ืจืžื•ื ื™ื”.


  ืื™ื›ืจื™ื ืขื•ื‘ื“ื™ื-ื”ืื‘ื™ื‘ ืฉืœ ื‘ืจื•ื™ื’ืœ
Spring, Peter Breughel the Younger, 1633

ืคื™ื˜ืจ ื‘ืจื•ื™ื’ืœ ื”ืฆืขื™ืจ ื”ืœืš ื‘ื“ืจื›ื™ ืื‘ื™ื•, ืคื™ื˜ืจ ื‘ืจื•ื™ื’ืœ ื”ืื‘, ื•ื”ื™ื˜ื™ื‘ ืœืชืืจ ืืช ื—ื™ื™ ื”ื›ืคืจ ื‘ืืจืฆื•. ื›ืืŸ ืื ื• ืจื•ืื™ื ืืช ืงื”ื™ืœืช ื”ืื™ื›ืจื™ื ืขื•ืžืœืช ืขืœ ืฉืชื™ืœืช ืฆืžื—ื™ื ื‘ืื‘ื™ื‘.


ืืœื’ื•ืจื™ื” ืขืœ ื”ืื‘ื™ื‘ ืฉืœ ื‘ืจื•ื™ื’ืœ
Jan Brueghel the Younger and an unknown figure painter in the style of Hendrik van Balen - Allegory of Spring, c. 1620s

ื™ืืŸ ื‘ืจื•ื™ื’ืœ ื”ืฆืขื™ืจ, ื ื›ื“ื• ืฉืœ ืคื™ื˜ืจ ื‘ืจื•ื™ื’ืœ ื”ืื‘, ื”ื™ื” ื‘ืขืœ ืกื’ื ื•ืŸ ื‘ืืจื•ืงื™ ื™ื•ืชืจ. ื”ื•ื ื ื”ื ื” ืžื”ื™ืœืช ื”ืฉื ื•ื”ืงืฉืจ ื”ืžืฉืคื—ืชื™, ืื•ืœื ื‘ื—ืจ ืœืคืชื— ืœืขืฆืžื• ืกื’ื ื•ืŸ ืขืฆืžืื™ ื™ื•ืชืจ ื•ืžืชืงื“ื. ื›ืืŸ ื‘ืฉื™ืชื•ืฃ ืขื ืฆื™ื™ืจ ื ื•ืกืฃ ืฆื™ื™ืจ ืืœื’ื•ืจื™ื” ืœืื‘ื™ื‘.


ื‘ืžืื” ื”-19 ื”ืื‘ื™ื‘ ื”ื™ื” ื ื•ืฉื ืคื•ืคื•ืœืจื™ ืฉืขืกืงื• ื‘ื• ืฆื™ื™ืจื™ื ืจื‘ื™ื ื•ื‘ืกื’ื ื•ื ื•ืช ืฉื•ื ื™ื:


ืื™ืฉื” ื‘ื—ืœื•ืŸ, ืงืกืคืจ ื“ื•ื“ ืคืจื™ื“ืจื™ืš
Woman at a Window, Caspar David Friedrich, 1822

ืงืกืคืืจ ื“ื•ื™ื“ ืคืจื™ื“ืจื™ืš ืžืฆื™ื™ืจ ืืช ืื™ืฉืชื• ืคื•ืชื—ืช ื—ืœื•ืŸ ื•ืžื‘ื™ื˜ื” ืืœ ื’ื™ื ืชื ื”ืคื•ืจื—ืช. ื”ื‘ื™ื“ื•ื“ ื’ื•ืจื ืœื™ ืœื”ื–ื“ื”ื•ืช ืขื ื”ืื™ืฉื” ื”ืขื•ืžื“ืช ื‘ื—ื“ืจ ื”ืืคืœื•ืœื™ ื•ืžื‘ื™ื˜ื” ื‘ืขืจื’ื” ื‘ื˜ื‘ืข ื”ืžืœื‘ืœื‘ ื‘ื—ื•ืฅ.

ื ืขืจื•ืช ื‘ืื‘ื™ื‘ ืฉืœ ื˜ื™ืกื•
Spring, James Tissot, 1865

ื˜ื™ืกื• ืฆื™ื™ืจ ื ืขืจื•ืช ื ื”ื ื•ืช ื‘ืคื™ืงื ื™ืง - ืื—ืช ืžืฉืชื•ื‘ื‘ืช ืขืœ ืขืฅ ื‘ืคืจื™ื—ืชื•, ืฉืชื™ื™ื ื ื—ื•ืช ืขืœ ื”ื“ืฉื,, ื›ื•ื‘ืขื™ื”ืŸ ืคื–ื•ืจื™ื ื‘ื—ื•ืกืจ ืกื“ืจ ืกื‘ื™ื‘ืŸ ื•ื”ืื•ื™ืจื” ื”ื™ื ืฉืœ ื—ื•ืคืฉื” ืขืฆืœื” ื•ื ืขื™ืžื”.


ืื™ืฉื” ืขื ืฉืžืฉื™ื” ืฉืœ ืื“ื•ืืจื“ ืžืื ื”
A Woman with Parasol, Edouard Manet, 1881

ืžืื ื” ืžืฆื™ื™ืจ ืืช ื”ืฉื™ืง ื”ืคืจื™ื–ืื™ ื‘ืžืœื•ื ื”ื“ืจื• - ืื™ืฉื” ืขื ืฉืžืฉื™ื” ื‘ืื‘ื™ื‘.




ืงืฉื” ืœื‘ื—ื•ืจ ืžื‘ื™ืŸ ืฆื™ื•ืจื™ ื”ืื‘ื™ื‘ ืฉืœ ืงืœื•ื“ ืžื•ื ื”.

ืžื•ื ื”, ืฉื”ื™ื” ืืžืŸ ื”ืื•ืจ ื”ื˜ื‘ืขื™, ื”ืจื‘ื” ืœื ืฆืœ ืืช ื™ืžื™ ื”ืื‘ื™ื‘ ื”ืžืชืืจื›ื™ื ื›ื“ื™ ืœืฆืืช ื”ื—ื•ืฆื” ื•ืœืฆื™ื™ืจ ืืช ื”ื˜ื‘ืข ื”ืžืฉืชื ื”, ืื—ืจื™ ื—ื•ื“ืฉื™ ื”ื—ื•ืจืฃ ื”ืืจื•ื›ื™ื ื•ื”ืงืจื™ื.


ื‘ืงืฆื” ื”ืฉื ื™ ืฉืœ ื”ืขื•ืœื, ื”ื“ืคืกื™ ื”ืขืฅ ื”ื™ืคื ื™ื™ื ื‘ืกื’ื ื•ืŸ ื”ืื•ืงื™-ืื•-ืื” ืžืชืืจื™ื ืืช ืืจืฅ ื”ืฉืžืฉ ื”ืขื•ืœื” ื‘ื™ืžื™ ืคืจื™ื—ื” ื•ื”ืชืขื•ืจืจื•ืช. ืžืฉืžืืœ: ืขืจื‘ ืื‘ื™ื‘ื™ ื‘ื’ืฉืจ ืงื™ื ื˜ืื™ืงื™ื•, ืžื™ืžื™ืŸ: ืื‘ื™ื‘ ืžืื•ืจื— ื‘ืžืกืืงื™.


Almond Blossom, Van Gogh, 1890

ื•ืŸ ื’ื•ืš ื›ื™ื“ื•ืข ื”ื•ืฉืคืข ืžืื•ื“ ืžื”ื“ืคืกื™ ื”ืขืฅ ื”ื™ืคื ื™ื™ื, ื•ื›ืืŸ ื‘ืฆื™ื•ืจ ืฉืœ ืคืจื™ื—ืช ื”ืฉืงื“ ืขืœ ืจืงืข ืฉืžื™ื™ื ืฉื˜ื•ื—ื™ื, ื”ื“ื‘ืจ ื ื™ื›ืจ ื‘ืžื™ื•ื—ื“.


Marie en el Jardin, Peder Severin Kroyer, 1893

ื”ืฆื™ื™ืจ ื”ื“ื ื™ ืงืจื•ื™ื™ื” ืฆื™ื™ืจ ืืช ืื™ืฉืชื• ืžืืจื™ ืงื•ืจืืช ื‘ื’ื™ื ื” ื›ืฉื‘ื—ื–ื™ืช ืฉื™ื— ื”ื•ืจื“ื™ื ื‘ืฉื™ื ืคืจื™ื—ืชื•.


Signs of Spring, Walter Crane

ื”ืžืื™ื™ืจ ื”ื‘ืจื™ื˜ื™ ื•ื•ืœื˜ืจ ืงืจื™ื™ืŸ, ืฉื”ืฉืชื™ื™ืš ืœืชื ื•ืขืช ื”-Arts&Crafts, ืžืฆื™ื™ืจ ืืช ืกื™ืžื ื™ ื”ืื‘ื™ื‘ ื‘ืขื™ืจื•ื‘ ืฉืœ ืคืื•ื ื” ื•ืคืœื•ืจื” ื”ืื•ืคื™ื™ื ื™ืช ืœืชืงื•ืคื”.


ืขืฆื™ื ื‘ืื‘ื™ื‘ ืฉืœ ืžืื˜ื™ืก
Olive Trees at Collioure, Henri Matisse, 1906

ื‘ืฉื™ื ื”ืชืงื•ืคื” ื”ืคื•ื‘ื™ืกื˜ื™ืช ืžืื˜ื™ืก ืฆื™ื™ืจ ืืช ืขืฆื™ ื”ื–ื™ืช ื‘ืฉืœืœ ืฆื‘ืขื™ื ืฉืžืขืœื™ื ื‘ืžื—ืฉื‘ืชื ื• ืืช ืื•ื•ื™ืจืช ื”ืื‘ื™ื‘.


ืื™ืฉื” ืœืฆื“ ื”ื ื—ืœ ืฉืœ ื’'ื•ืŸ ืกื™ื ื’ืจ ืกืจื’'ื ื˜
The Black Brook, John Singer Sargent, 1908

ื’'ื•ืŸ ืกื™ื ื’ืจ ืกืจื’'ื ื˜ ื ื”ื’ ืœืฆืืช ืœืžืกืขื•ืช ืืจื•ื›ื™ื ื‘ืื™ื˜ืœื™ื” ื•ืœืงื— ืขื™ืžื• ืืช ืื—ื™ื™ื ื™ืชื• ื”ืื”ื•ื‘ื” ืจื•ื–-ืžืืจื™. ื›ืืŸ ื”ื™ื ื‘ืช 15 ืขืœ ื’ื“ื•ืช ื”ื ื—ืœ.


ืฉื‘ื™ืœ ื‘ืื‘ื™ื‘ ืฉืœ ื“ื™ื™ื•ื™ื“ ื”ื•ืงื ื™
Hawthorne Blossom Near Rudston, David Hockney, 2008

ื•ืžืฉื”ื• ืงืฆืช ื™ื•ืชืจ ืงืจื•ื‘ ืœื™ืžื™ื ื• - ื“ื™ื™ื•ื™ื“ ื”ื•ืงื ื™ ืžืฆื™ื™ืจ ื“ืจืš ื›ืคืจื™ืช ืฉืฉื ื™ ืฆื™ื“ื™ื” ืคื•ืจื—ื™ื ื‘ืื‘ื™ื‘.


ืื ืชืžื•ื ื•ืช ื”ืื‘ื™ื‘ ืขื•ื“ื“ื• ืืชื›ื ื•ื’ืจืžื• ืœื›ื ืœืฉืžืฅ ื—ื™ื•ืš, ืืชื ืžื•ื–ืžื ื™ื ืœื—ืœื•ืง ืืช ื”ืคื•ืกื˜ ื‘ืคื™ื™ืกื‘ื•ืง ืื• ื‘ืžื™ื™ืœ ื•ืืœ ืชืฉื›ื—ื• ืœืกืžืŸ ืœื‘ ืื“ื•ื ืื•ื”ื‘.

ืคื•ืกื˜ื™ื ืื—ืจื•ื ื™ื

ื”ืฆื’ ื”ื›ื•ืœ
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