Wapens van de Zeven Provinciën by Pieter Jansz.

Wapens van de Zeven Provinciën 1630 - 1672

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drawing, watercolor, ink, pen

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drawing

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baroque

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pen sketch

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watercolor

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ink

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pen

Dimensions: height 177 mm, width 276 mm

Copyright: Rijks Museum: Open Domain

Curator: Looking at this pen and watercolor drawing titled "Wapens van de Zeven Provinciën" by Pieter Jansz., dating from 1630 to 1672, I find myself immediately thinking about how each element serves to establish identity. Editor: The muted colors create an unexpectedly tranquil effect, considering its symbolic purpose; the delicate lines of the ink sketch provide a sense of ordered fragility to these proclamations. It gives the sense of blueprints more than battle cries. Curator: The very nature of heraldry lends itself to intersectional narratives. These are declarations of power, often intertwined with narratives of family, land, and legacy. Consider, for example, how these shields may reflect not only the seven provinces themselves, but also the social and political identities upheld. Editor: Yes, and each symbol tells a distinct story. Lions leaping across fields, eagles perched with imperial authority, the cluster of arrows representing unity—each a concise visual poem, reflecting specific attributes these entities wished to promote and safeguard, both collectively and individually. The use of such symbols, with their pre-existing cultural weight, reveals a fascinating act of self-definition. Curator: Absolutely. And there are gaps to be interrogated; "Stittanta Comiti" and "West Frisia" have their escutcheons strikingly devoid of heraldic symbolism, leaving one to consider whether this signifies erasure, absence, or, perhaps, a silent form of resistance against dominant visual languages. What voids exist and how do those voids reify the power dynamics at play? Editor: Perhaps there’s a message in that void; an expression that is itself, quite expressive! Even the seemingly decorative elements of this design serve to enforce this. Note the festoons suspended above each crest; they’re both baroque ornamentation and assertive announcements of sovereignty. Curator: Examining the power of emblems like this reveals the potent forces shaping early modern identities. Hopefully, it creates a valuable space for our listeners to consider those legacies still felt today. Editor: And to consider that these emblems continue to speak, whether those voices echo with purpose, with historical awareness, or even with protest.

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