Download Aesthetic Themes in Pagan and Christian Neoplatonism: From by Daniele Iozzia PDF

By Daniele Iozzia

ISBN-10: 1472572327

ISBN-13: 9781472572325

When aesthetics as a self-discipline didn't exist prior to the trendy age, historical philosophers supply many insights approximately good looks and paintings. In overdue Antiquity Plotinus faced the matter of attractiveness and the worth of the humanities. Plotinus reflections have a massive position within the improvement of the concept that of the worth of creative mind's eye throughout the Renaissance and the Romantic period, yet he additionally motivated the creative style of his time. Aesthetic topics in Pagan and Christian Neoplatonism reconstructs the cultured philosophical perspectives of overdue Antiquity, and their relation to creative construction of the time. through analyzing the resonance of Plotinus notion with modern artists and with Christian thinkers, together with Gregory of Nyssa, the publication demonstrates the significance of Plotinus treatise On good looks for the improvement of overdue old aesthetics. The Cappadocian fathers curiosity in Plotinus is explored, in addition to the ensuing legacy of the pagan thinkers philosophy inside Christian suggestion, similar to the concept that of good looks and the narration of the contemplative event. Uniquely making use of philological and philosophical perception, in addition to exploring either pagan and Christian philosophy, Aesthetic issues in Pagan and Christian Neoplatonism represents the 1st accomplished synthesis of aesthetic considered overdue Antiquity.

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II 5 (25) 1, 12–20, or Enn. 11 In Enn. 12 When talking about the statue of Zeus made by Phidias13 he confers to the sculptor the ability to contemplate the eidos of the god without referring to a visible model, and to represent him as he would appear if he decided to manifest Rhetoric and Aesthetics in Plotinus 17 himself, because the arts can give beauty to matter: Εἶτα καὶ ὅτι πολλὰ παρ᾽ αὑτῶν ποιοῦσι καὶ προστιθέασι δέ, ὅτῳ τι ἐλλείπει, ὡς ἔχουσαι τὸ κάλλος. 14 In fact, as demonstrated by Oiva Kuisma,15 the difference of Plotinus from Platonic thought must be considered in a less accentuated way, since the artistic representation in Plotinus’ view still remains on the material level, and if the artist has the ability to grasp the intelligible form of his model, it is always the form that the divine model would take if he decided to manifest himself to mortal eyes.

In his desire to safeguard the specificity of Christian reflection, von Ivánka was perhaps not entirely correct, in particular with regards to Gregory of Nyssa, who, in the view of the scholar, differs from the Platonic tradition mainly because he attributes man’s union with the divine to the exclusive action of grace, unlike Plotinus and the Neoplatonists. For these, in fact, the mystic union derives ineluctably from theoria or contemplation, in the sense of the result of a dialectical exercise. It is necessary, however, to consider that the union with the divine in Gregory, although it relies on a divine gift, is a direct consequence of the constitution of man, who participates in the divine nature through his nous.

It is of course true that Plotinus never ceases to stress that the images he uses are imperfect, because, as he says in Enn. II 9 (33) 4, 14, the artist produces for the need to obtain a profit,25 while the divine is selfsufficient. But this specification is valid only up to a certain point, because it does not consider the unrestricted nature of artistic creation, which in principle does not require an immediate reward. The figurative arts, precisely because they are linked to vision, offer therefore a series of functional images to express different elements of Plotinus’ system.

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