Portraits - living and dead

[Steve]

No: HPFGUIDX 74960

--- In HPforGrownups at yahoogroups.com, "traci_barbour"
<Pottymouth65 at a...> wrote:
> ...edited.. 
> What determines the qualifications of who gets a portrait made?  

bboy_mn:
These are what I would call 'historical portraits', therefore anyone
who makes history or who the wizarding world deems to be worth of this
honor will probably get a portrait. 

Other portraits may have been personal family portraits, that were
eventually moved to a place of honor, or put on public display.


> Traci:
> If communication between the living and those deceased in the 
> portraits are easy, then one would assume every portrait produced is
> capable of communication right?  

bboy_mn:
If I recall correctly, rumor has it that the living portraits we see
are special enchanted portraits that require a piece of the living
person be added to the portrait. Example; to finish the portrait and
complete the 'living' enchantment, some hair from that living person
is embedded in the paint.

It is, we could logically assume, easier for wizards to paint 'still'
portraits or portrait that are animated like photographs, but can't
speak or reflect the personality of the wizard/witch in the portrait.

I believe I've heard this in discussions in this group, but I can't
say if it is speculation on someone's part or if it is a documented
fact. Either way, it does sound reasonable.


>Traci:
> ... Sirius ..., ...his portrait isn't under consideration but what 
> if in future books it is?  What if his  portrait is painted?  Would 
> he then be able to communicate to Harry? 
>

bboy_mn:

If Sirius, at some time in his life, had a 'living' portrait made,
then Harry could access that protrait, but I don't think it would
reflect Sirius in his entirety. That is, it would not reflect his life
long accumulated personality. If it was painted at 15, then it would
reflect Sirius at 15. To some extent, a portrait can expand it's
knowledge and experience, and therefore it's personality, but I think
the scope of that is limited.

Also, we have no body, so we have not tissue to add to the portrait,
and even if we did have a body, the speculation is that the 'living'
portrait requires the addition of tissue from a living person.


> Traci:
>We know that these "enchanted" portraits are not only confined to 
> Hogwarts as Sirius' mother's portrait at the Black house is able to 
> react to outside disturbances whenever the sheet covering is 
> removed.  I am curious to hear other's thoughts on this.

bboy_mn:
Not a 100% sure what you are getting at here. This is something that
is not limited to Hogwarts, enchanted living portraits do exist in
locations other than Hogwarts like the hospital, the Ministry of Magic
and in private homes.

As far as movement of the character in the portrait is seems the can
only travel with in the confinds of the building they are in, or to
other portraits of themselves at different locations.


General thought on portraits-
I've alway thought that the portrait were not the full and complete
personality of the person pictured, they are more like actors playing
a role. 

However, they are exceptional actors with exceptional insight into the
character they are playing. We see many stage and screen actors
playing the parts of historic figures and capturing their essence and
character very well. The living portraits have the added advantage of
having a piece of the living person to draw on; some true living
essence of the person does exist in the portrait. But I don't think a
portrait could ever be quite as good as the real person.

Portraits are actors in two senses; they are playing the role of the
person in the portrait and the are playing the role OF a portrait.

When the Fat Lady runs from Sirius after he slashed her portrait, it
isn't because she feared for her life, because she isn't alive. She
didn't fear for great bodily harm, because she has no body; she is
just animated paint. Although, it does indicate that she was damaged,
so she could certainly have some fear of damage. 

However, I think more than anything she was feeling a sense of shame.
She could no longer fulfill her role as 'portrait', she could no
longer contribute the aesthetic beauty and essence she was created
for. When she was restored and returned to duty as guard of the
Gryffindor entrance, the sense of fear she display most convincingly
was just her playing her actors role as the Fat Lady.

I guess the point is that we have to weigh the reactions of living
portraits against two measures; one, the role of the character they
are playing, two, the role of a work of art. 

Just a few thoughts.

bboy_mn