476 KB45 KB200720252015Petan, MatejaUršič, Markoštevilka:1letnik:9str. 58-75ISSN:1854-9632ISSN:2350-4218COBISSID:57282658URN:URN:NBN:SI:doc-I2B8PACJenZnanstvena založba Filozofske fakulteteArs et humanitasangelangeliBotticelli, Sandro, 1444-1510dušaFicino, Marsilio, 1433-1499renesančna arhitekturarenesančna filozofijarenesančna umetnostsimbolne formesoulsymbolic formThe Gaze of the Soul and of the Angel in the Renaissance Philosophy of Marsilio Ficino|The Renaissance rediscovered the soul as the focus of the universe. Marsilio Ficino calls the soul the "bond of the world" (copula mundi), because it connects the earth and the heaven, immanence and transcendence, time and eternity. On the other hand, the centre of the world becomes more and more relative during the Renaissance period, and individual souls live more and more in their particular times and spaces. In Renaissance paintings, a soul's point of view is determined by perspective, as developed by Masaccio, Fra Angelico, Piero della Francesca et al., and the very position of the eye also features as a "symbolic form" (Erwin Panofsky). However, above each individual and "mobile" soul there are the wings of the "motionless" angel: super animam mobilem est immobilis angelus, as Ficino says in his renaissance Christianity, in reviewing the Platonic-Gnostic myth of the omnipresent angelic gaze. In the archetype of the angel Ficino perceives a metaphor for the all-knowing Intellect, towards which the human soul ascends. Following the iconology of Ernst Gombrich, this paper also takes notice of the influence of Ficino's philosophy on Botticelli's paintingsRenesansa je znova odkrila dušo: postavila jo je v središče sveta. Marsilio Ficino dušo imenuje "sponka sveta" (copula mundi), ki povezuje zemeljski in nebeški svet, imanenco in transcendenco, čas in večnost. Po drugi strani pa se v renesansi središče sveta vse bolj relativizira, duša postaja vse bolj individualna ter živi v času in prostoru. Njeno gledišče je v renesančnem slikarstvu določeno s perspektivo, ki jo odkrivajo Masaccio, Fra Angelico, Piero della Francesca idr., pri čemer sama perspektiva nastopa kot "simbolna forma" (Erwin Panofsky). Toda nad vsako posamezno in "gibljivo" dušo se pnejo krila "negibnega" angela: super animam mobilem est immobilis angelus, kot zapiše Ficino, ki se v svojem renesančno prenovljenem krščanstvu vrača k platonsko-gnostičnemu mitu o vsevidnem angelskem pogledu. Arhetip angela mu pomeni metaforo za vseprisotni Um, h kateremu se dviga človeška duša. Ficinov novoplatonizem je močno vplival tudi na Botticellijevo slikarstvo, kar dokazuje Ernst Gombrich v razpravi Botticellijeve mitologijeTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZnanstvena založba Filozofske fakultete