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'GEMINAE VENERES'. NEO-PLATONIC MOTIFS IN THE RELIEF DECORATION OF THE SIGISMUND CHAPEL

100%

Boczkowska A.

Biuletyn Historii Sztuki

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2005

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vol. 67

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issue 1-2

97-130

EN

This article concerns some significant motifs of the Chapel's interior decoration. In its altar wall two female figurines were depicted in the Venus 'genetrix' and 'pudica' form whose nakedness may be interpreted as a neo-Platonic symbol of truth and innate beauty. The symbolism of these figures is expressed as a personification of two kinds of love: celestial and temporal, the former portrayed in the upper and the latter in the lower parts of the Chapel. In the Platonic and Humanist traditions these two types of Venus relate to a then popular concept devised by Marsiglio Ficino. Under the influence of studies carried out by contemporaneous humanists on the antique world, religious symbols were secularised and the inner meanings of their contents transformed. Rather than expressing the contrast between good and evil, the Chapel's twin figures of Venus portrayed a neo-Platonic harmony between the cosmic forces controlling the world of nature. And yet, in the figure of an undefeated Hercules in struggle, regarded as a model for a perfect ruler, a prefiguring may be perceived of the military triumphs of king Sigismund, whose numerous symbols, drawn from Roman imperial iconography, were depicted on the Chapel's walls. This neo-Platonic symbolism contained a very important eschatological motif pertaining to man as a divine creation that had been given the gift of freedom of choice. The contemplative pose of the king placed on his sarcophagus portrays the melancholia generosa of a great monarch beyond corporeal struggle under whose victorious leadership the 'golden age' was supposed to return to his state.

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ТЕМА IERARCHII PRIRODNOGO SUŠČEGO V PALAMITSKOJ LITERATURE. Č. 1. PREDYSTORIJA TEMY IERARCHII SUŠČEGO I VOZNIKNOVENIE ETOJ TEMY V PALAMITSKICH SPORACH

80%

Biriukov D.

Konštantínove listy

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2017

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vol. 10

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issue 2

15 - 22

EN

The study shows that the biblical discourse of the taxonomy of beings goes from Gregory of Nyssa to the Dionysian discourse, and afterwards it influences the teaching of Gregory Palamas. Based on the passage from David Disipat’s “History” discovered by Robert Browning, the author puts forward a new hypothesis about the time when the polemic about the taxonomy first appears in the Palamite controversy. Also, he gives an outline of Gregory Palamas’s teachings about the taxonomy of the participating beings. He shows that in Gregory the theme of the taxonomy of the participating beings is tightly connected to the theme of the supernatural participating of a created being in the Divine.

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PROCLUS IN GEORGIAN AND LATIN MIDDLE AGES (Prokl u hruzyns'komu ta latyns'komu serednyovichchi)

80%

Zakaradze L.

Філософська Думка

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2010

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issue 4

43-49

EN

Joane Petrizi (the 12th century) and Berthold of Moosburg (the 14thcentury) chose Proclus Diadochos's 'Elementatio theologica' as the main source for their commentator activities and philosophy. The ways and methods of perception of Proclus were different in Georgian and Byzantine tradition and the Latin West. Until recently the study of Proclus's reception was different in Georgian and German academic world as well. Today Europe-centrism is more and more frequently criticized in the western philosophy and, to this extent the research of Berthold's and generally, Proclus's reception acquires new boundaries in Georgia (Tengiz Iremadze). On the other hand, the role of Petrizi is being estimated completely differently in the context of Proclus's reception and thus the studies acquire intercultural character (Burkhard Mojsisch, Udo Reinhold Jeck).

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FILOZOFICKÁ TERMINOLÓGIA KORUNY KRÁĽOVSTVA RABÍNA ŠLOMO BEN GABIROLA

70%

Mičaninová M.

Filozofia (Philosophy)

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2008

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vol. 63

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issue 5

427-432

EN

The paper deals with the philosophical terminology of the poem Royal Crown by the Jewish neo-Platonist Solomon ben Judah Gabirol (1022 - 1057). In the poem the influence of philosophy and science on Jewish liturgical poetry is reflected. The analysis of the poem leads the author to the conclusion, that it represents the synthetic character of Ibn Gabirol's reasoning. It requires a special approach, which the author refers to as 'synthetic analysis'.

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THE NEO-PLATINIC SUPPER (Neoplatonska Wieczerza)

70%

Boruta T.

Sacrum et Decorum. Materiały i studia z historii sztuki sakralnej

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2011

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vol. 4

65-79

EN

The article concerns The Last Supper by Maciej Swieszewski, one of the best known Polish paintings of recent years. The piece presents an eschatological feast. A sumptuous banquet table, whose rectangular shape represents earthly reality, along with the apostles, is placed in a nebulous, heavenly space of a New Jerusalem. In addition, the artist produces an interesting and meticulously studied image of Jesus. By giving him three faces, he creates an entirely new iconography. This original vision originates along the central axis of the composition and radiates to the rest of the painting. Starting from the top, the viewer comes across the vertex of a triangle. The triangle is white to represent the primordial neo-Platonic unity of God; as it descends, it gradually splits into the colours of the rainbow, the symbol of reconciliation, mercy and covenant between the Creator and his creation, as well as the presence of God. The banquet table, overflowing with the fruits of the earth, floating on the endless expanse of water is at once an ark and a sacrificial table. The paintings by Maciej Swieszewski and Aldona Mickiewicz show the scene of the Last Supper in the symbolic light of Neo-platonic philosophy. In the former, a primal tear of God falls on earthly waters, creating new life and starting waves, which emanate from the centre to include the entire painting in symbolic circles of eschatological symbols. In the latter, the square of the table (representing the earthly) is covered with a tablecloth; in the vein of Renaissance architects, who tried to design an ideal temple, a circle formed by crumbs of bread and folds of the tablecloth is inscribed within it. The centre of emanation is the Eucharist, represented by the plate with bread and the wine-filled carafe. Aldona Mickiewicz thus creates a symbolic image of the community of the mystical Church. However, she is uncertain in her vision, stops at the description of the everyday, and openly shares her doubts. Her paintings are not statements but question marks asking about the essence of life. In her The Last Supper, she freezes the moment of rolling up the tablecloth to express her doubt as to whether it will unveil an empty, earthly table or the promised Kingdom of God. Swieszewski, on the other hand, is a visionary. It seems that his enormous erudition and, perhaps, personal faith allow him to steal a glance at the nuptial feast of the Triumphant Church - the wedding of the Lamb.

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Pojetí svobody v komentářích Maria Victorina k pavlovským epištolám

61%

Hušek V.

Studia theologica

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2005

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vol. 7

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issue 4

1-12

EN

In the second half of the 4th century, the first Latin commentaries on the Pauline epistles emerge. This article examines how human freedom is treated in the earliest of them, the commentaries of Marius Victorinus on Ephesians, Galatians and Philippians. The theme is touched especially in the passages explaining the pre-existence of human souls, their descent to the world and return back to God. According to Victorinus, the souls have already existed before the creation of the world, 'spiritually', in Christ. Having separated from Logos, which necessarily happens, they are confronted with the world and have to choose between God and the sensual world. Whatever they choose, the decision completes their perfection. The souls, which got entangled in the sensual world, are not able to free themselves and return back to God. They are redeemed by Christ, through his incarnation and crucifixion. The souls have to do nothing but believe in Christ; thus their 'spiritualization' and return to God begins. The question whether this faith is an act performed fully from human power, or whether it is God's gift, is not answered unambiguously.

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1 Філософська Думка

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