Irradiaciones del ingenium. Representaciones cosmológicas y poder generativo de la naturaleza durante el Renacimiento
Fecha
2015-12-01
Autores
Título de la revista
ISSN de la revista
Título del volumen
Editor
Universidad EAFIT
Resumen
Descripción
Este artículo propone un acercamiento a la noción de ingenium en el contexto del arte y la filosofía del Renacimiento europeo -- Dada su recurrencia lexical, su representación visual y las ideas que recubre, el ingenium es una noción paradigmática que convoca la atención de los estudios sobre la historia de los conceptos filosóficos y la historia cultural de los saberes -- Para evidenciar lo anterior, se entrelazan el comentario filosófico -principalmente de la obra de Ficino- y el comentario sobre las teorías de la creación artística -particularmente en el De Pictura de Alberti -- Como centro magnético de la argumentación, el texto interroga una imagen: El juicio de Paris, famoso grabado hecho en Roma por Marco Antonio Raimondi (1480-1534) a partir de un dibujo de Rafael (1483-1520) -- Como conclusión, el texto pretende mostrar que la noción de ingenium fue, en los albores de la modernidad, marco filosófico para pensar y caracterizar la capacidad productiva de la naturaleza terrestre y de la existencia humana.
This paper offers an approximation to the notion of ingenium in the context of art and philosophy during the European Renaissance -- Given its lexical recurrence, its visual representation and the spectrum of ideas covered by it, the ingenium is a paradigmatic notion that calls the attention of specialists in the history of philosophical concepts and researchers in the field of the cultural history of knowledge -- To demonstrate this idea, the article intertwines philosophical commentary, mainly, on Marsilio Ficino’s works, with references on theories about artistic creation, mainly, on Alberti’s De Pictura -- As compelling center of the argument, the text interrogates an image: “The judgment of Paris”, the famous engraving made in Rome by Marco Antonio Raimondi (1480-1534) from a drawing by Raphael (1483-1520) -- As a conclusion, the paper aims at presenting how the notion of ingenium was, at the dawn of modernity, philosophical framework for thinking and describing the productive power of both earthly nature and human existence.
This paper offers an approximation to the notion of ingenium in the context of art and philosophy during the European Renaissance -- Given its lexical recurrence, its visual representation and the spectrum of ideas covered by it, the ingenium is a paradigmatic notion that calls the attention of specialists in the history of philosophical concepts and researchers in the field of the cultural history of knowledge -- To demonstrate this idea, the article intertwines philosophical commentary, mainly, on Marsilio Ficino’s works, with references on theories about artistic creation, mainly, on Alberti’s De Pictura -- As compelling center of the argument, the text interrogates an image: “The judgment of Paris”, the famous engraving made in Rome by Marco Antonio Raimondi (1480-1534) from a drawing by Raphael (1483-1520) -- As a conclusion, the paper aims at presenting how the notion of ingenium was, at the dawn of modernity, philosophical framework for thinking and describing the productive power of both earthly nature and human existence.
Palabras clave
Filosofía natural, El Juicio de París