maandag 19 augustus 2013

THE MOORS IN WESTERN ART ARE SYMBOLS OF BLUE BLOOD AND BLACK SUPERIORITY

 
Many persons are not aware of the many images of Blacks in western art. They are often misunderstood, and labeled slaves or servants when they are not real people, but heraldic symbols of blue blood and Black superiority. The Spanish Moors were Muslims, and do not show up outside Spain. The talk about Spanish Moors is confusing as it leads to think they were the only civilizing Blacks in Europe. The christians they confronted were the brown and black complexioned European elite. As the Spanish Muslim Moors were driven out in 1492, they did not play a roll in European history after this date.
 
 
 
Maximillian i of Habsburg, the father of Charles V Habsburg

 
Moor in a portrait of George Washington, who had noble ancestors.


 
Model, resembling Mr. Elton in 'Emma'(1816), described as 'pretty,' 'a broad face,' and 'handsome.'

Family crest with a Moor symbolising Blue Blood, not slave trade.
 



                                                 The French ancestor of George Washington


 
The Racial Hierarchy, showing Blacks just above apes. Apes were considered degenerated humans. The Blacks they were targetting were the nobles who identified as black and superior with images of heraldic Moors. Because they oppressed whites and bourgeosie they were considered morally evil, and became degenerated. As Blacks they were one step away from apes. Some whites still look at blacks as a kind of apes, and this is how it got started. Nobles were earlier likened to apes, and 16,17th century paintings by Tenier, show nobles as well dressed apes in taverns.

 
Madame de Kerouaille was a mistress of King Charles II Stuart and the mother of his natural son. She belonged to the French aristocracy, and here self-identifies as Black and noble with a little Moorress. The child offers her pearls and red coral. Pears symbolise purity of noble blood. her face and hands are whitened.

 
The Coburg Moor. The British Royal family are Germans, and used to be called Saxen-Coburg-Gotha, but changed it to Windsor.

Encyclopedier Jean de Ronde D'alembert. Named after the church De Ronde, where his noble mother left him on the stairs as a foundling. His looks show classical African facial traits considered proof of noble blood.

 
The banner of Corsica. The headband was introduced by Alexander the Great who did not want to wear a crown. So this Moor is a royal Moor: a Black King.

 
A heraldic Moor

 
A Black Madonna, also a symbol of Black superiority. Another clue that the European Elite identified as Black. Their elevation in 1100-1200 began with Black religious imagery. When they were defeated with the French Revolutions these were destroyed. And in 1848 when whites were finally emancipated, they changed the portraits to white.

 
Simon Webbe

 
Young Moroccans

 
Heraldic crest with a Moor.

 
Old image of Othello, The Mooor of Venice, the most famous literary Moor

 
The Papal crest of Pope Benedict. Typically no explanation was supplied for the Moorhead.

 
Maria Henrietta Stuart, married Dutch Stadhouder Wiliam II. She was a sister of Charles II Stuart, called The Black Boy. This is a whitened portrait, with a heraldic Moor who offers her pearls. She is wearing a brazilian coat of feathers and an eastern headdress.

 
A Moor

 
Djimoun Hounsou

 
A Moor, the blackest classical African with frizzled hair. Often bleu-ish in colour. Hence blue blood.

 
The Drake Jewel: a Moor dominates a profile of a white woman, symbolising Black superiority.
Inside a portrait of Elizabeth I given to her friend Sir Drake, who commisioned the jewel case.


Candelabrum given to Maria de Medici as a wedding gift, with the same Black Superiority symbol.
She married Henry II and was the mother of Louis XIII. Her daughter Henrietta de Bourbon was the mother of King Charles II Stuart.
 

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