El Huevo y el cero: de la nada al infinito
In the article we are going to try to outline a theory of the image based on the one that best fits our intention: the one that is hermetic and neoplatonic with a sacred load, an image whose sense remains veiled, to be understood only by those who know its hermeneutic code. Then we will add some con...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repositorio: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:10256/17325 |
| Acceso en línea: | http://hdl.handle.net/10256/17325 |
| Access Level: | acceso abierto |
| Palabra clave: | Simbolisme Symbolism Neoplatonisme Neoplatonism Alquímia en l'art Alchemy in art |
| Sumario: | In the article we are going to try to outline a theory of the image based on the one that best fits our intention: the one that is hermetic and neoplatonic with a sacred load, an image whose sense remains veiled, to be understood only by those who know its hermeneutic code. Then we will add some considerations about the symbolic image. We will finish with a practical case: the evolution of the symbol of the egg among artists who can be included in the ones of the hermetic philosophical school, either explicitly or indirectly. We will see different ways of reflecting on the egg: in books of alchemy illustrations from the Renaissance and the Baroque, in examples that follow the typological guidelines of the emblem, its influence in a surrealist artist, Leonor Carrington, or also in a postmodern artist that mixes styles, techniques, materials and also types of images: Sigmar Polke |
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