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Wyświetlanie 1-3 z 3
Tytuł:
Ficino And Savonarola Two Faces of the Florence Renaissance
Autorzy:
Gawrońska-Oramus, Beata
Powiązania:
https://bibliotekanauki.pl/articles/1806836.pdf
Data publikacji:
2019-10-23
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Ficino; Savonarola; Pico della Mirandola; neo-Platonism; art; religion; Renaissance; republic; piagnoni; Apologia contra Savonarolam
Opis:
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 61 (2013), issue 4. Analysis of the mutual relations between the main intellectual and spiritual authority of the Plato Academy—Marsilio Ficino on the one hand, and Girolamo Savonarola, whose activity was a reaction to the secularization of de Medici times on the other, and a thorough study of their argument that turned into a ruthless struggle, are possible on the basis of selected sources and studies of the subject. The most significant are the following: Savonarola, Prediche e scritti; Guida Spirituale—Vita Christiana; Apologetico: indole e natura dell'arte poetica; De contempt mundi as well as Ficino’s letters and Apologia contra Savonarolam; and also Giovanni Pica della Mirandoli’s De hominis dignitate. The two adversaries’ mutual relations were both surprisingly similar and contradictory. They both came from families of court doctors, which gave them access to broad knowledge of man’s nature that was available to doctors at those times and let them grow up in the circles of sophisticated Renaissance elites. Ficino lived in de Medicis' residences in Florence, and Savonarola in the palace belonging to d’Este family in Ferrara. Ficino eagerly used the benefits of such a situation, whereas Savonarola became an implacable enemy of the oligarchy that limited the citizens’ freedom they had at that time, and a determined supporter of the republic, to whose revival in Florence he contributed a lot. This situated them in opposing political camps. They were similarly educated and had broad intellectual horizons. They left impressive works of literature concerned with the domain of spirituality, philosophy, religion, literature and arts, and their texts contain fewer contradictions than it could be supposed. Being priests, they aimed at defending the Christian religion. Ficino wanted to reconcile the religious doctrine with the world of ancient philosophy and in order to do this he did a formidable work to make a translation of Plato’s works. He wanted to fish souls in the intellectual net of Plato’s philosophy and to convert them. And it is here that they differed from each other. Savonarola’s attitude towards the antiquity was hostile; he struggled for the purity of the Christian doctrine and for the simplicity of its followers’ lives. He called upon people to repent and convert. He first of all noticed an urgent need to deeply reform the Church, which led him to an immediate conflict with Pope Alexander VI Borgia. In accordance with the spirit of the era, he was interested in astrology and prepared accurate horoscopes. Savonarola rejected astrology, and he believed that God, like in the past, sends prophets to the believers. His sermons, which had an immense impact on the listeners, were based on prophetic visions, especially ones concerning the future of Florence, Italy and the Church. His moral authority and his predictions that came true, were one of the reasons why his influence increased so much that after the fall of the House of Medici he could be considered an informal head of the Republic of Florence. It was then that he carried out the strict reforms, whose part were the famous “Bonfires of the Vanities.” Ficino only seemingly passively observed the preacher’s work. Nevertheless, over the years a conflict arose between the two great personalities. It had the character of political struggle. It was accompanied by a rivalry for intellectual and spiritual influence, as well as by a deepening mutual hostility. Ficino expressed it in Apologia contra Savonarolam written soon after Savonarola’s tragic death; the monk was executed according to Alexander VI Borgia’s judgment. The sensible neo-Platonist did not hesitate to thank the Pope for liberating Florence from Savonarola’s influence and he called his opponent a demon and the antichrist deceiving the believers. How deep must the conflict have been since it led Ficino to formulating his thoughts in this way, and how must it have divided Florence's community? The dispute between the leading moralizers of those times must have caused anxiety in their contemporaries. Both the antagonists died within a year, one after the other, and their ideas had impact even long after their deaths, finding their reflection in the next century’s thought and arts. 
Źródło:
Roczniki Humanistyczne; 2018, 66, 4 Selected Papers in English; 63-86
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wpływ fundacji papieskich na polską architekturę początku XVI wieku. Watykański kontekst mauzoleum prymasa Jana Łaskiego
Influence of Papal Foundations on Polish Architecture in Early 16th Century. The Vatican Context of the Mausoleum of Primate Jan Łaski
Autorzy:
Gryglewski, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1791411.pdf
Data publikacji:
2020-12-22
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
historia architektury
sztuka polska
architektura sakralna XVI w.
renesans
history of architecture
Polish art
church architecture 16th century
Renaissance
Opis:
Przedmiotem omówienia jest kaplica św. Stanisława, wzniesiona w pobliżu katedry gnieźnieńskiej z inicjatywy prymasa Jana Łaskiego między 1518 a 1523 r. (rozebrana w końcu XVIII w.). Fundacja tego centralnego, wolnostojącego mauzoleum zajmuje ważne miejsce w historii początków sztuki renesansowej w Polsce. Jej realizacja przebiegała równolegle z budową kaplicy – mauzoleum króla Zygmunta Starego na Wawelu. Arcybiskup Jan Łaski był zaangażowany w sprowadzenie do Polski Bartłomieja Berrecciego – projektanta królewskiej kaplicy, być może zaangażowanego również w projekcie gnieźnieńskim. Niewątpliwie wpływ na fundację Łaskiego miał jego pobyt w Rzymie w latach 1513-1515. Arcybiskup otrzymał wtedy zgodę na zebranie ziemi z rzymskiej nekropolii Campo Santo i prawo uświęcenia nią cmentarza przy katedrze w Gnieźnie. Z koncepcją mauzoleum wiązała się też zamówiona na Węgrzech w pracowni Jana Florentczyka płyta nagrobna. Na podstawie zachowanej linii fundamentów można wyróżnić wiele istotnych cech tej budowli. Dysponowała ona układem centralnym. Trzon miał formę cylindra, najprawdopodobniej przesklepionego kopułą. Trzy półkoliste apsydy tworzyły czytelny trichonchos. Od południa znajdowało się wejście do kaplicy. Nie mniej istotna był lokalizacja mauzoleum, usytuowanego między katedrą a kolegiatą św. Jerzego. Na tej samej osi znajdowała się pierwotna lokalizacja grobu św. Wojciecha. Podjęte w Gnieźnie rozwiązania mogły mieć źródła w rzymskim ośrodku artystycznym. Tkwią one w szeregu projektów i koncepcji pojawiających się wokół fundacji Juliusza II, renowacji bazyliki św. Piotra i koncepcji mauzoleum papieskiego. Miały one związek z twórczością Donato Bramantego i Giuliana da Sangallo. Watykańskie projekty architektoniczne były formułowane w kontekście wyjątkowego, historycznego znaczenia miejsca pochówku św. Piotra. Podobny, starożytny kontekst pojawiał się w Gnieźnie, miejscu związanym z początkami chrześcijaństwa w Polsce.
The analysis is devoted to the St. Stanislaus chapel erected near Gniezno Cathedral on the initiative of Primate Jan Łaski between 1518 and 1523 (pulled down in the late 18th century). Foundation of this central, free-standing mausoleum plays an important role in the history of the beginnings of Renaissance art in Poland. Its realisation took place simultaneously with construction of the chapel: the mausoleum of King Sigismund I the Old at Wawel. Archbishop Jan Łaski was involved in bringing to Poland Bartolommeo Berrecci, a designer of the royal chapel, who perhaps also participated in preparing the Gniezno design. Undoubtedly, the Łaski foundation was influenced by his stay in Rome in 1513-1515, when the Archbishop was permitted to take some soil from the Roman necropolis of Campo Samo and use it to sanctify the cemetery at Gniezno Cathedral. The concept of the mausoleum was also connected with the tombstones ordered in Hungary in Giovanni Fiorentino studio. On the basis of the preserved line of foundations, we can distinguish a number of important features of the building. It had a central layout. The core part took the form of a cylinder, most probably vaulted by the dome. Three semi-circular apses formed a elear triconch. From the south there was an entrance to the chapel. No less important was location of the mausoleum, situated between the cathedral and St George’s a collegiate church. On the same axis was the original location of the tomb of St. Adalbert. The solutions applied in Gniezno may have had their sources in a Roman art centre. They were used in a sedes of projects and concepts appearing around the Julius II foundation, renovation of St. Peter’s Basilica and the concept of the papai mausoleum. They were related to the work of Donato Bramante and Giuliano da Sangallo. The Vatican architectural designs were formulated in the context of unique historical signifi of St. Peter’s burial place. A similar, ancient context appeared in Gniezno, a place associated with the beginnings of Christianity in Poland.
Źródło:
Roczniki Humanistyczne; 2020, 68, 4 Special Issue; 109-138
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ficino i Savonarola. Dwa oblicza florenckiego renesansu
Ficino and Savonarola. Two faces of the Florence Renaissance
Autorzy:
Gawrońska-Oramus, Beata
Powiązania:
https://bibliotekanauki.pl/articles/1890573.pdf
Data publikacji:
2013
Wydawca:
Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
Tematy:
Ficino
Savonarola
Pico della Mirandola
neoplatonizm
sztuka
religia
renesans
republika
piagnoni
Apologia contra Savonarolam
neo-Platonism
art
religion
Renaissance
republic
Opis:
Analysis of the mutual relations between the main intellectual and spiritual authority of the Plato Academy – Marsilio Ficino on the one hand, and Girolamo Savonarola, whose activity was a reaction to the secularization of the Medicean times on the other, and a thorough study of their argument that turned into a ruthless struggle, are possible on the basis of selected sources and studies of the subject. The most significant are the following: Savonarola, Prediche e scritti; Guida Spirituale – Vita Christiana; Apologetico: indole e natura dell’arte poetica; De contempt mundi as well as Ficino’s letters and Apologia contra Savonarolam; and also Giovanni Pica della Mirandoli’s De hominis dignitate. The two adversaries’ mutual relations assumed the shape of surprising similarities and contradictions. They both came from the families of court doctors, which gave them access to broad knowledge of man’s nature that was available to doctors at those times, and let them grow up in the circles of sophisticated Renaissance elites. Ficino lived in the Medici’s residences in Florence, and Savonarola in the palace belonging to the Este family in Ferrara. Ficino eagerly used the benefits of such a situation, whereas Savonarola became an implacable enemy of the oligarchy that limited the citizens’ freedom they had at that time, and a determined supporter of the republic, to whose revival in Florence he contributed a lot. This situated them in political camps that opposed each other. They were similarly educated and had broad intellectual horizons. They left impressive works of literature concerned with the domain of spirituality, philosophy, religion, literature and arts, and their texts contain fewer contradictions than it could be supposed. Being priests they aimed at defending the Christian religion. Ficino wanted to reconcile the religious doctrine with the world of ancient philosophy and in order to do this he did gigantic work to make a translation of Plato’s works. He wanted to fish souls in the intellectual net of Plato’s philosophy and to convert them. And it is here that they differed from each other. Savonarola’s attitude towards the antiquity was hostile; he struggled for the purity of the Christian doctrine and for the simplicity of its followers’ lives. He called upon people to repent and convert. He first of all noticed an urgent need to deeply reform the Chuch, which led him to an immediate conflict with Pope Alexander VI Borgia. In accordance with the spirit of the epoch he was interested in astrology and he cast accurate horoscopes. Savonarola rejected astrology, and he believed that God, like in the past, sends prophets to the believers. His sermons, that had an immense impact on the listeners, were based on prophetic visions, especially ones concerning the future of Florence, Italy and the Church. His moral authority and his predictions that came true, were one of the reasons why his influence increased so much that after the fall of the House of Medici he could be considered an informal head of the Republic of Florence. It was then that he carried out the strict reforms, whose part were the famous „Bonfires of the Vanities”. Seemingly Ficino passively observed the preacher’s work. Nevertheless over the years a conflict arose between the two great personalities. It had the character of a political struggle. It was accompanied by a rivalry for intellectual and spiritual influence, as well as by a deepening mutual hostility. Ficino expressed it in Apologia contra Savonarolam written soon after Savonarola’s tragic death; the monk was executed according to Alexander VI Borgia’s judgment. The sensible neo-Platonist had no hesitation in thanking the Pope for liberating Florence from Savonarola’s influence and he called his opponent a demon and the Antichrist deceiving the believers. How deep must the conflict have been since it led Ficino to formulating his thoughts in this way, and how must it have divided Florence’s community? The dispute between the leading moralizers of those times must have caused anxiety in their contemporaries. Both the antagonists died within a year, one after the other, and their ideas had impact even long after their deaths, finding their reflection in the next century’s thought and arts.
Źródło:
Roczniki Humanistyczne; 2013, 61, 4; 103-126
0035-7707
Pojawia się w:
Roczniki Humanistyczne
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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