Tezos

Page 34: Regalitas

Creator

tz1Ws6ueRTDTJFmqbyVBpBdDzMdv4gHP9Ui7

Description

Phase 6 of Rubedo: The Royalty of Being In this reading, plate II, 13 (Gleyre's Hercules) ceases to be a celebration of the hero and becomes a cartography of his capture. It is no longer a study of mass, but a study of envelopment. "Kingdom" (Regalitas) is no longer that of brute force, but that of organic power that absorbs rigidity. 1. The Central Tower: The Architectural Trophy At the center of the video, the tower no longer represents the hero's axis, but the spindle around which the queen weaves her web. The Cartonnage (The Captive Structure): Once the geometric rigor of brutalism, it becomes here the skeleton of confiscated power. It is the "club" rendered inert, a mental structure that Omphale has stripped of its warlike function to make it an object of contemplation. Clay (Domesticated Matter): It is no longer the pure strength of Hercules, but the raw material that the Queen molds at will. Dispersed throughout the land art ecosystem, it testifies to the dissolution of the hero into the feminine realm. 2. The Circle of Light: The Eye of the Sovereign This is not a neutral ontological diaphragm; it is Omphale's gaze. Function: It does not delimit pure spirit; it circumscribes the zone of possession. It is the space where the queen observes her conquest. She "slices" the tower, imposing silence upon masculine force. Symbolism: This is the focal point of Phase 6. The sovereign is not the one who is the void, but the one who defines its contours. 3. The Subrealist Annexation: The Organic Devouring the Mineral The work does not depict an equal conflict, but a slow and inevitable colonization. Brutalism (The Passive): The discipline of Gérôme and Gleyre is relegated to the status of a relic. Masculine geometry no longer imposes itself; it barely resists, frozen in a rigidity that renders it vulnerable. Land Art (The Active - Omphale): In the foreground, moss and plant textures are the true agents of power. This is not gentle erosion, but appropriation. "Green time" is Omphale's weapon, clothing and covering the monument with its own livery. The Point of Contact: Where moss touches the cardboard, there is not simple contamination, but weaving. The vegetal softness is the supreme force that stifles the stone's cry. Analysis of "Woven Painting" (Stop-by-Stop Animation) The manual process evokes the work of spinning, an activity imposed by Omphale on Hercules. The Enveloping Effect: Oil paint does not fight against the surface; it clothes it. It behaves like the queen's drapery or the lion's skin she has donned. It encircles the rigid form, subjecting it to a new aesthetic. Dynamics: While the tower (Hercules) remains static out of necessity, the impasto of oil paint (Omphale) comes alive in a flowing, textured manner, weaving a vibrant network that overflows and redefines the boundaries of academic portraiture. Chromatic Subrealism: The colors are no longer those of exertion, but those of the Lydian court: the green of silent domination (the moss) covering the gray of former glory (the structure).