Symbolism in "Portrait of Lady Edelgard Von Hresvelg"
This is something that Iâve usually never really felt comfortable doing. If you ever wonder why some artists are a bit more reluctant to actually *talk* about the âmeaningâ of their work, its because it strikes the same tenor as having to explain why a joke is funny. If I have to actually lay it out for the viewer why certain decisions were made in the execution of a work of art, the magic of the whole experience may be lost. Moreover, many artists avoid making definitive statements on their work because they do not wish to deprive viewers the opportunity to derive their own unique explanation.Â
While I chiefly view myself as a fine artist, most of my artistic training was as an illustrator. As an artist, this can lead to an interesting dichotomy when it comes to creating paintings. During my studies, I was told that the job of an illustrator is to solve pictorial problems for people often by making pictures that tell a story or convey an idea. Fine artâs definition, in contrast, tends to be more nebulous. But I digress, on to the paintingâŚ
A number of people on reddit and Tumblr have remarked on the candle with the snuffed-out flame. No interpretations on it have been offered, the mere presence of a candle with a smoldering wick is a strong enough implication. However, this is one instance where I drew inspiration from art history so I believe it is worth elaborating on. The animus for the candle originates in the Arnolfini Portrait by Jan Van Eyck. Below is an image of the painting with the pertinent candle circled.
Art history scholars have a number of different readings about the candleâs presence, but the one I was taught in Art History is that the lit candle indicates the presence of the holy ghost or the watchful eye of God. Three Houses draws from a number of religions for its world building, in the case of The Church of Serios, the developers took the majority of their cues from The Catholic Church. If a lit candle would suggest Edelgardâs faith in the Goddess, then an extinguished one must imply Edelgardâs *loss* of faith.Â
In addition to the extinguished candle, I would also like to direct viewers to the reflection of the candle in the polished wood table surface. In the reflection the candle is still burning very brightly, almost down to the base of the candelabra.
The purpose of this image is to recall a saying from old Taoism Philosophy in China: âThe candle that burns twice as bright burns half as long.â Those who are familiar with Edelgardâs back story in Three Houses will find its relevance obvious. I doubt I am the only one to make the allusion.
This brings me to the next major piece of symbolism I employed in the painting, the dagger and the drapery on the table. The daggerâs significance should go without saying, but its application as a device will become more apparent after I explain the table cloth. To put it succinctly, the majority of the dark shadow shapes made by the tablecloth are arranged to evoke the shape of the crest of flames. Below is another visual to help illuminate this detail.Â
The immediate implication here is the detail of Edelgard possessing the crest of flames. As for why I decided to depict it in a more concealed wayâŚWhen I first got the idea for this painting, the whole concept was that if a person saw this painting in a gallery, they would be looking at an actual artifact from Fodlan, one that created by an artist who actually lived there. This is why the second row of the inscription reads âIn the Imperial Yearâ on the left side and â1179â on the right. This means the painting would have been completed just before Edelgard starts attending Gareg Mach, and long before the greater public would know she has the crest of flames. How the artist came to know this would remain a mystery. I like to imagine it as a detail that Fodlanâs historians would debate over for years after the gameâs narrative.
There is also a second message that I have intended with the daggerâs placement cutting (heh) across the crestâŚGripping the dagger over the crest of flames is a statement about what the path is that Edelgard will take, especially when the crest is examined as representing the Goddess Sothis. In fact, there are two (technically three) lines of dialogue from Three Houses I had in mind for this symbolism.
That about sums it up! I may do a couple more posts in the future where I show how the painting evolved from thumbnails, to studies to the finished image if theres interest in that sort of thing.
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