R. Sale > 15-06-2023, 08:00 PM
Well, you're right about that. 'Wolkenband' never has been a good search term to find examples of this artistic technique and tradition. However, it was a more significant term in the first <VMs> discussions of this topic initiated by D. Hoffmann. It is a term that may also prove useful in the investigation of early modern art history. But what was this technique called by the artists who drew it and people who saw it before those German art historians?
While interesting in many ways...
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The detail of note here is in the heraldic insignia. Per bend nebuly argent et gules. There is a clear ideological connection between "Wolken" and 'nebuly' on display well before the VMs dates.
As investigators, we need to see things from the perspective of 1400-1450, or thereabouts. From that perspective, the "Wolken-nebuly" association is a given that "everybody" knows. And from the perspective of VMs 'research', it is a fairly recent discovery / recovery. The further extension of the VMs use of nebuly lines in Q13, particularly the Agnus Dei, provide the examples. Some things will appear much more obvious from the "medieval" perspective, if we know that the nebuly line can be interpreted as a cosmic boundary, then the 'critter' must be worthy representative, and the Agnus Dei is the logical choice from the medieval perspective.
Likewise with the investigation of Melusine. Recovery of a relevant perspective reveals the historical Valois connections. Both the VMs cosmos and Melusine have these 'ties' to the Duke of Berry (d. 1416, Paris). They reveal the VMs artist's knowledge in detail of an era that is now long passed.
Like the recent misinterpretation of "flores" as real flowers, I'll bet the trees (arbores) aren't really trees, either. It makes you wonder about the extent of mercury toxicity.