With the centuries-old depth of its existence, the fish is not only an aquatic inhabitant, but also an ever-living symbol, captured on canvas and embodied in artists’ workshops. In art, fish has become an integral part of the palette, revealing to us not only the beauty of nature, but also deep symbolic meanings intertwined with history and culture. Let's plunge into the world of painting, where fish becomes an eternal source of inspiration and creativity for artists.
Sea Studies: Fish in a Painting Whirlpool
“Fish for me is not just a drawing object, it is a gateway to the aquatic world, where shape and color are combined in the endless symphony of nature.” - Arthur Hughes
The fish, which for a long time led its mysterious dances in the world of water, became not only a sign of nature, but also a symbol of the origin of life. Worldwide recognized in religious rites and mystical beliefs, this aquatic creature is intertwined with the cosmogonic beliefs of various cultures. In bronze brooches of the 7th century, found near the village of Zenkovo in the Poltava region, the connecting links are shaped like snakes, fish and birds of prey, thereby connecting three natural elements: air, water, earth.
In ritual worship and sacrifice, fish was offered to the gods of the underworld and goddesses of the waters, creating a bridge between man and the unknown. Such traditions stretched through the centuries, leaving their mark on the art and culture of ancient civilizations. From ancient Egypt to Celtic, Indian, Mesopotamian, Burmese, and Persian cultures, fish has become a symbol of life, love and fertility.
Not limited to religious practices, the image of fish also flourished in the art of jewelry. Golden fish figurines, precious amulets, testified to belief in its protective properties. In the ornament of decorative elements of Central Asia, the fish carried not only a symbol of numerous offspring, but also wealth, happiness, and sometimes an amulet that accompanied its owner on journeys through centuries and the secrets of the world of water.
From the catacombs to the heights
In the vortex of time, when religious beliefs faced the shadow of persecution, the fish flourished as a symbol of unity in early Christian art from the 3rd to 6th centuries AD. Under the domes of the catacombs, hidden underground, where Christians gathered during the period of the first persecutions, the fish turned into a mysterious code, allowing fellow believers to recognize each other in the shadow of a hostile environment.
Exquisite fish patterns carved into stone and wall became hidden symbols, intertwined with faith and touching the invisible. At this time, when the survival of faith became a feat, the fish, like a hidden message, asserted its role. To be a Christian during this period was to be on the edge, and the secret symbolism of the fish called for unity and protection in a world where faith was being tested.
So the fish became not just a pattern on stone walls, but an invisible sign of agreement and faith, drawn by an invisible master, warning of its existence in the darkest times.
The Pisces symbol explains the origin of the Jesus monogram. Christians saw in this word a kind of acrostic (the first letters of each word form a meaningful text) telling about Christ. Each letter of the “ancient Greek fish” was for them, respectively, the first letter of other, very important words expressing the confession of the Christian faith: “Iesous Christos Theou Hyios Soter” (Greek) - “Jesus Christ, Son of God, Savior” (abbreviated: ICHTHUS - Fish ).
With the spread of Christianity and its visual culture, the fish symbol acquired multiple meanings. First of all, this is a symbol of baptism: just as a fish cannot live without water, so a true Christian will not find salvation without passing through the waters of baptism. The feeding of five thousand people with five loaves of bread and two fish served not only as an example of mercy, but was also widely used as a metaphor for the Eucharist (Fish and bread. Mosaic. Tabgha. Israel. 4th century AD).
The three fish found on church emblems, intertwined with each other or having one head, denote the Trinity, revealed to those who have open spiritual vision. No less significant is the story of the prophet Jonah, swallowed by a “big fish” and expelled three days later unharmed, symbolizing the resurrection, as well as the Gospel parable about the miraculous catch by the disciples of Christ, symbolizing the “catching of men” into the bosom of Christianity.
Medieval painting, with its strictly religious character, was not interested in the real world. Therefore, the choice of themes and plots developed by artists was extremely limited, and the symbolism was strictly fixed within the framework of church theology. Each artist was required to strictly follow the canonical instructions, and there were special textbooks for this. In book miniatures and tombstone reliefs of the 12th - 14th centuries. birds and fish symbolized the “upper and lower abysses.” Fish were used relatively rarely in emblems, since they meant muteness and voicelessness.
The code of alchemists and the language of peasants
In the labyrinth of medieval thought, symbols became a language, where each element carried many secrets and allegories. In this intricate world of knowledge, the fish turned into a multifaceted creature, speaking with different voices depending on who was looking at it.
For astronomers, fish became a sign of the Moon, opening the door to cosmic secrets. Astrologers saw something more in her image - an astrological cipher revealing planetary influences. Alchemists, peering into the depths of the water, identified fish with the symbol of water, the source of transformation and purity. Doctors regarded the fish as the embodiment of a phlegmatic temperament, finding in its form and movement a reflection of a person’s character. Dreamers, plunging into the world of dreams, unraveled secret messages in fish about carnal lusts and subconscious desires.
For the common people, fish became a kind of kaleidoscope of meanings, associated with fasting and moral values. But even in this kaleidoscopic palette of medieval consciousness, the image of a fish suspended by its head mysteriously embodied disorder and violation of moral norms, like a mirror reflecting the spiritual anxieties of the time. Thus, every detail, every symbol in this medieval palette came to life, as part of a mysterious and amazing language that captivated the eye and mind with its many shades.
The Renaissance worldview made a hole in the system of medieval aesthetic ideas, and through it the earthly world poured into religious painting in a wide stream. A significant contribution to the development of European painting was made by the Netherlands in the 15th-16th centuries. Artists were looking for new subjects, means and ways of expressing creative ideas. Symbols were still in use, but the meaning of the image changed depending on what particular language could be attributed to the author.
The work of Hieronymus Bosch can be considered as the culmination of the transition of religious painting to secular painting, given the preservation of the polysemy of the pictorial code. Bosch's artistic language never fit entirely into canonical interpretations. The artist often used certain symbols in a meaning opposite to the generally accepted one, and also invented new symbols. One of the master’s most famous works is the triptych “Gardens of Earthly Delights” (1500−1510).
In the work of another great artist of that era, Pieter Bruegel the Elder, the image of a fish illustrates exclusively Flemish proverbs. For example, in the painting “Dutch Proverbs” (1559), the characters in the painting visually treat fish as a product, but the artist put a meaning into his plots that has not yet been fully read by art historians, since not all proverbs have survived to this day.
For example, a plot where a man fries fish illustrates the proverb “Fry a herring to eat caviar” (means “waste money”). At the same time, it is possible that in this case the proverb “His herring is not fried here” is encrypted (everything does not go according to plan). Another Dutch proverb applies to the same fragment: “The herring is not fried there,” that is, his attempts fail, he does not get what he hopes for. In another part of the painting, a peasant unsuccessfully catches fish with a net: “He is fishing below the net” (to miss an opportunity).
In the great dance of nature, on the canvases of artists of centuries, a shaky mirror of human relationships appears - a scene where big fish devour small ones, building complex allegories of power and strength.
In the painting by Pieter Bruegel the Elder, created in 1556, this amazing plot blossoms on a full scale. Here, in a whirlwind of events, powerful figures oppress those who find themselves in their power network. This is not just a depiction of natural cruelty, but also an allegory of human life, where everyone is a fish in his own pond, striving to survive in an unpredictable ocean of circumstances.
In these paintings, where the colors captivate the eye, the viewer is faced with the eternal questions of existence: should he eat or be eaten? Here an intense dynamic is born, reflecting not only the laws of nature, but also the human essence, where the struggle for survival turns into art. Each brush stroke reveals a piece of the great mystery of life, and the viewer, immersed in this kaleidoscope of colors, himself becomes a participant in the eternal performance of life.
In the world of art, Giuseppe Arcimboldo becomes a wizard, creating magnificent mosaic portraits from the most incredible elements. In his magical studio, the sea element comes to life in the stunning portrait "Water" (1563−1564).
In this artistic symphony, Arcimboldo's brushes create a unique female appearance, where every feature, every line appears as a sea treasure. Wavy hair is embodied in streams of water, and the eyes, like underwater pearls, give the portrait mystery and mystery.
This portrait is not just a depiction of female beauty, but also a dive into the depths of the sea kingdom. Shells, algae and a variety of ocean creatures dance around the face, creating an amazing underwater ballet. Thus, Arcimboldo magically transports the viewer into a world of fantasy, where water becomes not only a vital force, but also an artistic embodiment of the endless depths of inspiration.
Each element of this work seems to emphasize the magic of the water element, causing the viewer not only delight, but also reflection on the endless possibilities of art. Thus, Arcimboldo becomes an alchemical artist, translating fantasies into reality, bringing sea magic into everyday life and making us see water in a completely new way.
Symbolism of the Depths: Fish in the World of Painting
"A fish on canvas is not just an object, it is a moment when water becomes visible and colors dance to the rhythm of nature." - Alexander Storm
European society was undergoing changes and a reassessment of values gradually began to occur. The Pisces symbol began to lose its sacred meaning and move into a utilitarian plane: we catch, we eat, we have fun. This happened in Holland, where the Reformation, by prohibiting artists from painting on religious themes, forced them to look for new directions. This is how still life appeared.
The first still lifes were simple in plot, the image in them was arranged solemnly and decorously in accordance with established canons: bread, a glass of wine, fish (symbols of Christ); knife (symbol of sacrifice); lemon (symbol of unquenched thirst); nuts in shell (soul bound by sin); apple (fall) and so on. (Peter Klaas. Still life. 1597−1661).
The fish symbol, endowed with a variety of meanings and shades (from satire on human lust to echoes of disputes about church sacraments and hierarchy) has become widespread in scenes of fish markets and shops, fishing, etc. etc. Religious themes gradually began to give way to bourgeois ones. Not only the church, but also the new emerging class have already become customers of works of art. Each guild tried to order a canvas to perpetuate its merits; it became popular to illustrate the activities of various specialties and crafts.
Holland and Flanders, as key centers for the development of European painting, focused their attention on new humanistic values: man and his interests.
The Flemish artist Frans Snyders, in his famous series of “shops” - “Fish Shop”, “Fruit Shop”, “Still Life with a Swan” (1613−1620), etc., depicted tables overflowing with all kinds of food, most often game or fish.
Silvery fish scales sparkle on the canvases; with this abundance, the artist reminds not of death, but of life that has faded away. One should not trust such a rich painting too much - the real life of that time was much more modest. Before the viewer is the embodiment of the spirit of good old Flanders, the love of its people for earthly gifts and the simple-minded dream of a blessed Land of Idlers, where fried partridges fly into the mouths of everyone.
Always in value
Artists of the early 20th century actively used the “fish” theme in their work. Members of the “Jack of Diamonds” group sought to bring their work closer to “folk popular print,” creating lush, colorful still lifes that competed with street signs, such as “Still Life” (1910) by Ilya Mashkov.
One of the striking references that appeals to the classical tradition is the painting of the founder of metaphysical painting Giorgio Chirico “Sacred Fishes” (1918), in which the plot is full of mystery and ambiguity. And the name directly indicates the meaning. Ten years later, Chirico created a still life with fish, in which he abandoned irrational mystery, turning to the traditional figurative system.
Avant-garde artists were already interested in optical illusions, the play of shapes, colors, textures (Zinaida Serebryakova, Georges Braque, Henri Matisse).
Paul Klee interpreted the image of the inhabitant of the water element in his own way, creating the painting “Goldfish” in 1925. With its glow and threatening “spines,” the fish attracts the viewer’s gaze. It is likely that in this work the author decided to turn to unrealized childhood fantasies, and transformed the cute creature into a mysterious piranha.
Thus, the fish remains not only a visual symbol, but also a guiding star of the artistic imagination, reminding us of the eternal values of nature that remain unchanged through all times and movements of art. All that remains is to plunge again into the waters of creativity, in which the fish will continue to weave its magical patterns.
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