VSE knjižnice (vzajemna bibliografsko-kataložna baza podatkov COBIB.SI)
  • Ikonološke študije [Elektronski vir]
    Germ, Tine
    The volume contains a series of studies in the iconology of Renaissance art exploring the influence of Neoplatonic philosophy of Nicholas of Cusa in the art and architecture of Italian Quattrocento. ... The first study, MUNDUS PARVUS: Iconography of Leonardo's Study of Human Proportions after Vitruvius from Gallerie del'Accademia in Venice points out the fact, that the famous anatomical study may also reflect interesting iconography of micro-and macrocosm as developed in Cusanus' philosophy. The figure of a man framed in the circle and square - symbolically representing the celestial and terrastrial spheres - is namely an almost ideal visual representation of Cusanus' teaching on man as a unque creature, uniting the two worlds by having an immortal soul and a divine intellectual capacity kept in the limited power of the body bound to the laws of nature. In the second study, DE PULCHRITUDINE: Façade of Santa Maria Novella in Florence and the question of sources for Albertian aesthetics, the aesthetical principles of Alberti's architectural work are taken into consideration regarding the paralleles in Cusanus' philosophy of art and beauty. The analysis of the aesthetical premises of both Alberti and Cusanus' philosophy are beauty. This analysis of the aesthetical premises of both Alberti and Cusanus, and a research of historical relation between them reveal that Alberti must have been familiar with Cusanus' teachings on the symbolism of numbers and geometric figures, ideal proportions and harmony, and adopted them in his design of the façade of Santa Maria Novella. In the study IMAGO MUNDI: Iconography of the so called "Tarocchi di Mantegna" from The British Museum the cosmographic iconography of the fifty Renaissance prints is taken into consideration relating its structure to the cosmography of Cusanus. The symbolical cosmographic schemes, which Cusanus presents to explain his teaching on the structure of cosmos and the position of man in the universe, may be one of the most direct sources for the iconographic concept of the "Tarocchi di Mantegna". The fourth study, LUDUS SAPIENTIAE: Iconography of the Pierpont Morgan-Bergamo Visconti-Sforza Tarocchi Deck explores the humanistic themes in iconography of this early Italian deck of Tarocchi relating them to the philosophy of Nicholas of Cusa. His highly original idea, namely that the philosophic concepts regarding the position and the role of man in the universe can best be presented in a sophisticated game of symbols-ludus sapientiae-, is the one that may explain the complex display of humanistic symbols in the deck of Renaissance playing cards. The last study, DE ICONA: Iconographyof Dürer's Self-portrait from 15000 is a tribute to a non-Italian work of art. It exposes Cusanus' Christology as one of the most probable sources for the anigmatic iconography of Dürer's Self-portrait. A splendid metaphor of the all-seeing-God that Cusanus used in his DE visione DEi and his notion that the true face of God can only be perceived as a mirror image of the individual looking for God, found an interesting visual realization in the famous painting by Dürer and may even be its direct source of inspiration.
    Vrsta gradiva - znanstvena monografija ; leposlovje za odrasle
    Založništvo in izdelava - Ljubljana : KUD Logos, 2002
    Jezik - slovenski
    ISBN - 961-90926-2-7
    COBISS.SI-ID - 119451136

Knjižnica/institucija Kraj Akronim Za izposojo Druga zaloga
Narodna in univerzitetna knjižnica, Ljubljana Ljubljana NUK v čitalnico 2 izv.
ni za izposojo 1 izv.
Akademija za likovno umetnost in oblikovanje, Ljubljana Ljubljana ALULJ v čitalnico 1 izv.
Univerzitetna knjižnica Maribor Maribor UKM v čitalnico 1 izv.
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