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Kurzbeschreibung
From antiquity to the Enlightenment, astrology, magic, and alchemy have always been considered important tools in unravelling the mysteries of nature and human destiny. As a result of the West's exposure to the astrological beliefs of Arab philosophers and the mystical writings of late antiquity, these occult traditions became rich sources of inspiration for Western artists.This latest volume in the "Guide to Imagery" series, presents an intelligent analysis of occult iconography in many of the great masterpieces of Western art - from the astrological symbols that decorated churches and illuminated manuscripts, through the work of a wide range of Renaissance artists, including Bosch, Brueghel, Durer and Caravaggio, to the visionary works of nineteenth-century artists, such as Fuseli and Blake, as well as in the creative output of the Surrealists during the twentieth century.
Synopsis
From antiquity to the Enlightenment, astrology, magic, and alchemy have always been considered important tools in unravelling the mysteries of nature and human destiny. As a result of the West's exposure to the astrological beliefs of Arab philosophers and the mystical writings of late antiquity, these occult traditions became rich sources of inspiration for Western artists.This latest volume in the "Guide to Imagery" series, presents an intelligent analysis of occult iconography in many of the great masterpieces of Western art - from the astrological symbols that decorated churches and illuminated manuscripts, through the work of a wide range of Renaissance artists, including Bosch, Brueghel, Durer and Caravaggio, to the visionary works of nineteenth-century artists, such as Fuseli and Blake, as well as in the creative output of the Surrealists during the twentieth century.
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1 von 1 Kunden fanden die folgende Rezension hilfreich
Symbology in a usable format
12. Dezember 2011
Format:Taschenbuch|Von Amazon bestätigter Kauf
The work, based on efforts of the J. Paul Getty Museum, addresses some of the symbolism concerning areas of Astrology, Magic and Alchemy without touching on Religion. This may have been reasonable for purposes of averting criticism from the current religious orthodoxy.
Within the context of its circumscribed purpose, the work is very helpful. What it does not clearly touch on is the extent to which Alchemy was a Science of the time, perhaps the precursor to modern Chemistry, but definitely what would be considered Science today. The fact that we do not perceive it in this manner now is irrelevant to the past usage. The really interesting thing about this topic was that Alchemy was also a part of the Religion of the time. The ability to turn a base metal into gold was akin to the ability to take a tarnished soul and have it salvaged. Pursuit of perfection was achievable, at least before more strict forms of Protestantism were imposed.
The religious overtones that may have been present for such notables as Rudolph II (Hapsburg) and Isaac Newton are not addressed here, though that is a minor point.
As such, Alchemy could take on the rather interesting connotation of a crossroads where Science and Religion mixed. This is again somewhat confusing for a 21st Century reader. Yet, considering that Oxford, Cambridge and most other Universities of the Middle Ages and Renaissance Europe were institutions staffed virtually exclusively by those within the established religious orders of the country, it was the established norm of the time. While we now find Science and Religion in conflict, it was the exception, if not the perversion of practice, that Science and Religion had any lack of concordance. This context is worth elucidation.
I would have preferred if this context were addressed to some degree.
Within the context of its circumscribed purpose, the work is very helpful. What it does not clearly touch on is the extent to which Alchemy was a Science of the time, perhaps the precursor to modern Chemistry, but definitely what would be considered Science today. The fact that we do not perceive it in this manner now is irrelevant to the past usage. The really interesting thing about this topic was that Alchemy was also a part of the Religion of the time. The ability to turn a base metal into gold was akin to the ability to take a tarnished soul and have it salvaged. Pursuit of perfection was achievable, at least before more strict forms of Protestantism were imposed.
The religious overtones that may have been present for such notables as Rudolph II (Hapsburg) and Isaac Newton are not addressed here, though that is a minor point.
As such, Alchemy could take on the rather interesting connotation of a crossroads where Science and Religion mixed. This is again somewhat confusing for a 21st Century reader. Yet, considering that Oxford, Cambridge and most other Universities of the Middle Ages and Renaissance Europe were institutions staffed virtually exclusively by those within the established religious orders of the country, it was the established norm of the time. While we now find Science and Religion in conflict, it was the exception, if not the perversion of practice, that Science and Religion had any lack of concordance. This context is worth elucidation.
I would have preferred if this context were addressed to some degree.
2 von 3 Kunden fanden die folgende Rezension hilfreich
a good start
1. September 2011
Format:Taschenbuch|Von Amazon bestätigter Kauf
Nice pictures, interesting explanations, many examples. Fun to read and a good start to understand the symbols of the unknown through the ages, and how they were hiden and perpetuated thru art. Too European. After this book we need the "origins" in Africa, India, the silks of China, the japanese prints. The book lacks the Americas now and then. Xul Solar the Master of astrology and esoterism in art in the XXth century (better than Klee and Kandinsky) is not even named. Still a good book and important to have for consultation.
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