Search Results (3)

The paper presents Nicholas of Cusa’s position in the debate on mystical theology, which had a place around the middle of the 15th century in monastic environments. His contribution to that debate was presented in the form of the treatise entitled On the Vision of God, complemented by a painted representation of the “All-seeing Face”. Both the treatise and the painting were designed to be aids in an experiment projected by Cusanus for his benedictine friends of Tegernsee Abbey, to help them in their progress towards mystical contemplation. The intention was to show them a way to lift their thought from the perception of the image, through meditation and prayer, to the contemplation of God. Thus, both the icon and his treatise were intended to fulfil an anagogical function for the users in inspiring them start on a journey of returning to God and teaching them how to effect that return. Besides giving an account of the experiment projected by Cusanus, the most important elements of his fascinating system are delineated, such as the way of mystical ascent, his use of paradox, his conception of God as the Infinity, and the conception of God’s seeing as the foundation of the existence of all things. Full article

In the twelfth century, certain thinkers in the north of Europe were exalting human reason in a manner that had not been seen since the time of the ancient philosophers. Adelard of Bath, William of Conches, Thierry of Chartres and Peter Abelard all championed ratio in a way that seemed to challenge the hegemony of learning that rested securely with the authority of scripture, the testament of the Fathers and the canons of the established councils. In so doing, it represented a significantly different approach from the firmly established ‘authors’ (auctores) as certain scholars pursued their learning, and indeed even divine ascent, via other avenues. Even the visionary Hildegard von Bingen set enormous stock in rationality. This paper will discuss the use of reason for the anagogic ascent to the divine in order to trace its roots to a Platonic understanding of the universe in tandem with a highly positive anthropology that allowed for a bold reassessment of human capabilities, as well as a new appreciation of nature. Full article

Viacheslav Ivanov (1866, Moscow–1949, Rome) is one of the most prominent Russian symbolist poets and a leading theorist of symbolism at the beginning of the twentieth century. The article demonstrates that Ivanov understood art (and, more broadly, aesthetic experience) as one of the most effective forms of contact between the human being and the spiritual world, as well as with its first cause. Ivanov distinguishes between three “aesthetic principles” of the universe, which all together constitute “the beautiful”—the sublime, beauty, and the chaotic—and links them to the three stages of being of the artist in the process of creative activity. The artist first passes through the chthonian, subconscious stage of demonic chaos. Next, artists undergo the process of ascent into the ideal, spiritual sphere, where they gain experience, which cannot be expressed in words. After that, the process of the descent of the artist towards the earth takes place, where artists attempt to express in the form of artistic symbols the experience that they have acquired. Ivanov sees the artistic symbol as a materially given structure, which nevertheless cannot be described in words. This structure not only expresses a spiritual essence, but also really and energetically manifests it. Hence, Ivanov sees the creator of high, symbolic art (“realist symbolism”) as an artist-theurge (theurgy is the art of the future, of the future mystery on the basis of a synthesis of the arts that receives divine assistance), who contributes to the augmentation of being. For the recipient, the artistic symbol is anagogical (from the Greek ἀναγογή, “leading up”). It leads one up from the real world to a more real one (a realibus ad realiora). According to Ivanov, both the symbol and its content, myth, are of divine origin; they are “embodiments of the divine truth.” Therefore, high art is one of the principal ways of one’s ascent to spiritual reality by means of sensory reality. Full article