![]() The Father is in motion because, along with the world and man, He also creates himself in contrast with the “outsider” claim of ego dominus et non mutor he is also part of the “concert”. The answer may be found in the Platonic theology and cosmology of Ficino’s Academy, which is the continuation of the Christian trend represented by Dionysius the Areopagite and Eriugena. How sacred geometry (the circles of the Trinity) is transformed into a vigorous old man, who directs the events of the creation like an aerial acrobat. ![]() It seeks an answer to the question of how the representations of God can nevertheless be radically different in the Commedia and the ceiling fresco of the Sistine Chapel. The paper discusses a new aspect of this influence. Already in his lifetime (and with his knowledge), the literature began to thoroughly explore the influence of his predecessor on Michelangelo’s sculptures, paintings and poems. In his time, Michelangelo was considered one of the best-qualified Dante-experts. Among many other factors, one reason for this was the experience of shared Florentine pride and destiny. ![]() ![]() Dante was exempt from the 15–16th century Renaissance humanists’ general distrust of the medieval heritage. ![]()
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