La dimensión simbólica del arte en Nicolás de Cusa
João Maria André
Anuario Filosófico October 4, 2018 DOI: 10.15581/009.28.29799 (opens in new tab)
Study at a glance
AI-extracted from the abstract| Characteristics | Theoretical or philosophical paper Peer reviewed |
|---|---|
| Citations | 2 |
| Key points | Argues that Nicholas of Cusa's development of the concept of "imitatio" and his account of the relation between art and nature are original, and examines how art functions symbolically in his writings, particularly the all-seeing eye in De visione Dei and play in De ludo globi. |
Abstract
The article begins by placing Nicholas of Cusa's ideas in the context of Mysticism, whilst, at the same time, establishing the continuing actuality of the topic. After a short review of the concept of art as an imitation of nature through Antiquity and the Middle Ages, the second part of the essay deals with the originality of the Germán Cardinal's development of the concept of "imitatio" and the relation he posits between art and nature. The third part explores some significant examples of the role played by art and its symbolic use in his writing, with particular attention to the icón of the allseeing eye in De visione Dei and to play in De ludo globi.