Philosophy & Art: The Dispute between Faith and Understanding (1303). The Allegory in philosophical thought and Baroque Art: Ramon Llull (1232-1316) & Vermeer (1632-1675)
Luís Carlos Silva de SOUSA
Original title: Filosofia & Arte: A Disputa entre a Fé e o Entendimento (1303). A Alegoria no pensamento filosófico e na Arte Barroca: Ramon Llull (1232-1316) & Vermeer (1632-1675)
Published in The World of Tradition
Keywords: Allegory, Art, Faith, Johannes Vermeer, Philosophy, Ramon Llull, Reason, Understanding.
The purpose of this article is to analyse the work of Ramon Llull (1232-1316), Disputatio fidei et intellectus (1303), comparing it with the painting by Johannes Vermeer (1632-1675), The Allegory of Faith (ca. 1672-4). The statute of the Allegory is examined in Llull and Vermeer. It is argued that both work with the theme of the personification of the Allegories and that, in the relationship between faith and reason, the transcendence of the mysteries of the Christian faith is preserved, without hindering the power of reason.
Quia nolunt dimittere credere pro credere, sed credere per intelligere: Ramon Llull and his Jewish Contemporaries
Harvey Hames
Published in Ramon Llull (1232-1316): the cooperation among different cultures and the inter-religious dialogue
Keywords: Art, Correlatives, Kabbalah, Ramon Llull, Sefirot, Solomon ibn Adret, Trinity, conversion, religious disputation.
Unlike most of his contemporaries, Ramon Llull understood the need of actually engaging with the beliefs of his Jewish and Muslim contemporaries, rather than just with their texts, if he wanted to attain their conversion to Christianity. Coming from the Iberian peninsula where new theologies like Kabbalah were gaining ground among the Jews, Llull harnessed its central tenets in order to convince the Jews, by "necessary reason", of the inherent truth of Christianity. This article discusses the intellectual milieau in which Llull developed his Art, shows how he intended it to be used, and brings a Jewish response by Solomon ibn Adret, leader of the Jewish community in Catalonia to the challenge posed by Llull.
Saint Vincent Ferrer (1350-1419) and the philosophical-rethorical efficacy of sermon: Art and Philosophy
Ricardo da COSTA, Gustavo Cambraia FRANCO
Original title: São Vicente Ferrer (1350-1419) e a eficácia filosófico-retórica do sermão: Arte e Filosofia
Published in Art, Criticism and Mysticism
Keywords: Art, Medieval Rethoric, Philosophy, Saint Vincent Ferrer, Sermon.
The aim of this work is to analyze some aspects of the philosophical discourse and the medieval rethoric elements contained in the sermons of Saint Vincent Ferrer (1350-1419), especially his thoughts about a theme currently and universally present in the Christian Middle Ages: the moral virtues or cardinal virtues. For this, we will utilize a specific sermon wrote in Latin language (the Vth Sermon of the IVth Sunday of Advent), in which the preacher relates the four cardinal virtues with episodes of the life and deeds of Christ, as reported in the Gospels. The theme will be related with some artistic representations of the saint: the paintings of Joan Macip (1540-1545) and the most famous, of Alonso Cano (1601-1667), “Saint Vincent Ferrer Preaching” (1644-1645), as well as the central altarpiece of the Dominican Convent Church of Cervera (Segarra c. 1456), which represents Saint Vincent Ferrer and the Mother of God (Apocalyptic Virgin) of Pedro García de Benabarre (1445-1485). Our iconographic analysis is based on the theoretical perspective of Erwin Panofsky (1892-1968), and in the definition of image for the period according with the considerations of Jean-Claude Schmitt (1946- ).
The apocryphal texts in the Christian iconography
Ofelia Manzi and Patricia Grau-Dieckmann
Original title: Los textos apócrifos en la iconografía Cristiana
Published in The educacion and secular culture in the Middle Ages
Keywords: Apocrypha, Art, Canonical, Christianity, Iconography.
The art as a temporal landmark in the Cathedral of Barcelona: tradition and innovation
Lorena da Silva VARGAS
Original title: A arte como marco temporal na Catedral de Barcelona: tradição e inovação
Published in
Keywords: Art, Cathedral of Barcelona, Memory.
Among the corners of the gothic Cathedral (1298-1448) that prevails in the current landscape of Barcelona, there are artistic elements left by the time from the primitive paleochristian basilica, built in the 4th century A. D., passing through the visigoth church, by the romanesque and gothic cathedrals and entering the modernity until the recent history of the Cathedral of Barcelona. Here, we will seek to lift some of these temporal landmarks given by art over the centuries and which, preserved in the temple, tell the life of the Cathedral.
The difficulty in distinguishing beauty and art in some medieval expressions
Susana BEATRIZ VIOLANTE
Original title: La dificultad en la distinción de belleza y de arte en algunas expresiones medievales
Published in The Medieval Aesthetics
Keywords: Art, Beauty, Perspective in art, Philosophical perspective, Ugliness.
To flee from common places, it would be necessary to determine what is understood as beauty, distinguishing how this concept has been modified in relation to geographical space, periods of historical time and what the different centers of power have instituted as such. Something extremely complex because, fundamentally, I consider that it cannot be defined beyond than what generates an “aesthetic” tension that drives us to say: how nice!!! How ugly!!! But this “tension” is crossed by a whole discourse that makes us distinguish the beautiful and the ugly as such. What do we think of art in the medieval period? Because classical Greek art is still “seen” in many works, especially from Renaissance, modern and even contemporary, but we do not find the different perspective with which the medieval has expressed itself, with that recognition - and it does not seem to interest too much “See” - although, its superposition of close and distant planes - I - dare to find them stylized? in some of Picasso’s, Kandinsky’s, Magritte’s works ... I know it might seem “crazy” what I say, but here go certain images.
The figure of St. Joseph in Art
Jesús CANTERA MONTENEGRO
Original title: La figura de San José en el Arte
Published in
Keywords: Art, Devotion, Iconography, St. Joseph.
The figure of St. Joseph has always been a great importance among the Christian believers. However, works of art did not always express, it and during the medieval times it almost seemed to be despised. Everything changed from the sixteenth century, where the figure started to be appreciated, enriching their iconography to show it as a prototype to be imitated by Christians.
The representation of Eroticism in Art and Literature
Almerinda da Silva LOPES, Lívia Santolin BORGES
Original title: A representação do Erotismo na Arte e na Literatura
Published in Art, Criticism and Mysticism
Keywords: Art, Eroticism, Literature, Sade.
The present work is focused representation of eroticism as a literary and artistic genre. For the development of this proposal, it was necessary to define the term eroticism, but also explain how to use this theme in art and literature. To that end, we need to address, commenting since the period of cave painting, through classical Greek art, Roman and Oriental art, until you get to modernism; as well as review the literature in Portugal in the twelfth century, the literature in the Renaissance and the French Revolution and the works of Marquis de Sade.
When everything would appear to man as it is – infinite, from Kant to Viola (1781-1983)
Waldir BARRETO
Original title: Quando tudo pareceria ao homem tal como é – infinito, de Kant a Viola (1781-1983)
Published in The World of Tradition
Keywords: Art, Bergson, Infinite, Kant, Sublime, Video, Viola.
This essay proposes a theoretical consideration about the possibility of a transcendental analysis of the aesthetic experience with art according to Kantian criticism and the temporal dimension of Bill Viola’s work, taken from the Bergsonian concept of duration.
