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1

THE FRESCOES OF MICHELANGELO AND THE WORD OF JOHN PAUL II

100%
Smaga A.
Pamiętnik Literacki
|
2007
|
vol. 98
|
issue 4
5-19
EN
The Sistine Chapel crossed its architectural dimension and put Michelangelo and John Paul II into an interdisciplinary discourse. The Pope assumed that a substantial factor of an artistic work was not its autonomy, but its transcendental value, realized in various artistic structures. Therefore, he was not interested in the painting aspects of the Sistine frescoes. Like Buonarotti, John Paul II looked for transcendental senses in a plastic work. The former tried to present those messages in a plastic vision, the latter attempted to express them in a literary way. And on such a plane the word met with the painting, which had inspired it. Reinforcement of text by picture failed to produce the expected effects - it disallowed to depict the Invisible. Besides mysticism, there appeared one more way of cognition, namely the meditation. The first kind of perception was to manifest supernatural matters, while the other pertained to human nature. Finally the author argues that 'Meditations' unpenetrated the Mystery but 'reached the audience'.
2

Image and Shadow. Dante's theory of image as converted into a theory of art

88%
Belting H.
Teksty Drugie (Second Texts)
|
2006
|
issue 4(100)
135-152
EN
The present article is a chapter from Hans Belting's book 'Bild-Anthropologie' (München 2001). Here, the author embarks at reconstructing a theory of picture/image proposed by Dante in his 'Divina Commedia'. The conversations between Dante and Virgil are clearly indicative of a category-related difference between image and the body: 'image is like a shadow'. Belting analyses in detail the ancient and mediaeval concepts of shadow, soul, persona, proving indispensable for explaining the ontological aspect of Dante's images of death. The second section of the paper shows how artists such as Giotto, Masaccio or Michelangelo attempted at confronting the theory of image proposed by the author of the 'Divina Commedia'. He concludes with stating that the theory of 'painting of shadows', as described earlier, may prove extremely useful for modern theories of image and art, particularly, photography and virtual world.
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