From Ficino to Giordano Bruno, the concept of “interior painting” as distinguished from the mere record of sensory data expresses a model of knowledge which recognizes the painter – in particular, the “painter of ideas” – as an artisan capable of giving shape to intellectual archetypes. According to the philosophy of Ficino and Cusano, the productive attitude, which allows the artist to mould the external matter in line with a mental project, plays a notable cognitive role. It does not make the external (material, contingent, mutable) reality ‘rational’ or ‘ideal’; rather, it provides unextended and indivisible concepts with extension, dimension, and visibility by means of images and artworks. Those concepts, otherwise, would remain inaccessible to a finite and limited intelligence. During the Renaissance, however, a significant link between very different experiences, cultural and philosophical, is also established from another perspective. For Leonardo and Giordano Bruno, art is not tied to the one-way power of mind (opposing that of nature) as a formal and efficient cause of the artwork, but to the two-way power of ingenium. The ingenium leads the artist not only along a rational path (from the idea) following the intus-extra Neoplatonic itinerary, but also through an extra- intus-extra path: from the eye to the mind and from the mind to the hand.
L'articolo affronta il tema dell'ingenium quale "intelletto incarnato" nella produzione filosofica cinquecentesca. In particolare viene illustrato il passaggio da una progettualità e una idealità razionale e mentale (lineamentum, pittura o scrittura interiore) a una realizzazione concreta dell'inventum per il tramite dell'immaginazione e della dimensione materiale. L'articolo insiste inoltre sulle analogie concettuali e metodologiche tra matematica e arti figurative da Nicola Cusano, Leon Battista Alberti, Leonardo da Vinci, Daniele Barbaro, Giordano Bruno
Annarita Angelini (2015). Ingenium e téchne tra Leonardo e Bruno. STUDI FILOSOFICI, 38, 61-81 [10.1400/239916].
Ingenium e téchne tra Leonardo e Bruno
ANGELINI, ANNARITA
2015
Abstract
From Ficino to Giordano Bruno, the concept of “interior painting” as distinguished from the mere record of sensory data expresses a model of knowledge which recognizes the painter – in particular, the “painter of ideas” – as an artisan capable of giving shape to intellectual archetypes. According to the philosophy of Ficino and Cusano, the productive attitude, which allows the artist to mould the external matter in line with a mental project, plays a notable cognitive role. It does not make the external (material, contingent, mutable) reality ‘rational’ or ‘ideal’; rather, it provides unextended and indivisible concepts with extension, dimension, and visibility by means of images and artworks. Those concepts, otherwise, would remain inaccessible to a finite and limited intelligence. During the Renaissance, however, a significant link between very different experiences, cultural and philosophical, is also established from another perspective. For Leonardo and Giordano Bruno, art is not tied to the one-way power of mind (opposing that of nature) as a formal and efficient cause of the artwork, but to the two-way power of ingenium. The ingenium leads the artist not only along a rational path (from the idea) following the intus-extra Neoplatonic itinerary, but also through an extra- intus-extra path: from the eye to the mind and from the mind to the hand.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
