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Il paragone delle arti
Als Paragone wird in der Kunstgeschichte der „Wettstreit der Künste“ in der Renaissance und im Frühbarock bezeichnet, in dem es um die Vorrangstellung innerhalb der bildenden Künste ging. Dabei wurde vor allem die Rangfolge von Malerei oder Bildhauerei diskutiert, aber auch die Architektur miteinbezogen. Innerhalb des Paragone äußerten sich zahlreiche Künstler in Form von Traktaten, unter ihnen Leon Battista Alberti, Albrecht Dürer und Leonardo da Vinci, die sich alle für die Malerei aussprachen, während andere Künstler durch exemplarische Kunstwerke den Vorrang der gewählten Gattung darstellten.
Leonardo stellt in dem Traktat auch die These auf, dass die Malerei die höchste aller Künste sei, da sie differenziertere künstlerische Ausdrucksmöglichkeiten habe als alle anderen. Der erste Teil des Manuskripts wäre deshalb eine zuverlässige
Quelle, um die Haltung Leonardos in der Debatte zu Gunsten der Malerei und gegen die Skulptur zu rekonstruieren.
Da die Anordnung des Stoffs im Codex Vaticanus bekanntlich sehr viel zu wünschen übrig lässt, hat Heinrich Ludwig in der zweiten Hälfte des XIX Jahrhunderts versucht, einer übersichtlicheren Umordnung hergestellen. In Band III seines Buches „Lionardo da Vinci. Das Buch von der Malerei" - die erste deutschsprachige Ausgabe - hat er in den Umstellungstabellen das Zusammengehörige zusammengestellt.
Unsere Ausgabe stellt keine Redaktion des Malerbuches dar, sondern Ausgabe der Schriften des Codex in deutscher Übersetzung in jener Reihenfolge der Abschnitte, die von Heinrich Ludwig angeboten wurde, um die Übersicht über den Inhalt und somit auch das Verständniss der Theorie Künstlern und Nichtkünstlern zu erleichtern und des Buches Gebrauch bequemer zu machen. Die Umstellung ist übrigens nur innerhalb der einzelnen Teile vorgenommem.
Auszug aus
Fascikel 1: Wettstreit der Malerei mit den Wissenschaften.
Fascikel 2. Lob des Auges.
Fascikel 3: Wettstreit zwischen Malerei und Poesie.
Fasoikel 4: Wettstreit der Meierei mit der Musik.
Fascikel 5: Wettstreit der Malerei mit der Bildhauerei.
ANHANG. Die Berechtigung zu einem Umstellungsversuch.
Als Grundvorlage diente „Lionardo da Vinci, Das Buch von der Malerei, herausgegeben, übersetzt und erläutert von HEINRICH LUDWIG in 3 Bänden”, Wien, 1882. - erster Teil im Register des Codex Urbinus Latinus 1270.
Leonardo stellt in dem Traktat auch die These auf, dass die Malerei die höchste aller Künste sei, da sie differenziertere künstlerische Ausdrucksmöglichkeiten habe als alle anderen. Der erste Teil des Manuskripts wäre deshalb eine zuverlässige
Quelle, um die Haltung Leonardos in der Debatte zu Gunsten der Malerei und gegen die Skulptur zu rekonstruieren.
Da die Anordnung des Stoffs im Codex Vaticanus bekanntlich sehr viel zu wünschen übrig lässt, hat Heinrich Ludwig in der zweiten Hälfte des XIX Jahrhunderts versucht, einer übersichtlicheren Umordnung hergestellen. In Band III seines Buches „Lionardo da Vinci. Das Buch von der Malerei" - die erste deutschsprachige Ausgabe - hat er in den Umstellungstabellen das Zusammengehörige zusammengestellt.
Unsere Ausgabe stellt keine Redaktion des Malerbuches dar, sondern Ausgabe der Schriften des Codex in deutscher Übersetzung in jener Reihenfolge der Abschnitte, die von Heinrich Ludwig angeboten wurde, um die Übersicht über den Inhalt und somit auch das Verständniss der Theorie Künstlern und Nichtkünstlern zu erleichtern und des Buches Gebrauch bequemer zu machen. Die Umstellung ist übrigens nur innerhalb der einzelnen Teile vorgenommem.
Auszug aus
Fascikel 1: Wettstreit der Malerei mit den Wissenschaften.
Fascikel 2. Lob des Auges.
Fascikel 3: Wettstreit zwischen Malerei und Poesie.
Fasoikel 4: Wettstreit der Meierei mit der Musik.
Fascikel 5: Wettstreit der Malerei mit der Bildhauerei.
ANHANG. Die Berechtigung zu einem Umstellungsversuch.
Als Grundvorlage diente „Lionardo da Vinci, Das Buch von der Malerei, herausgegeben, übersetzt und erläutert von HEINRICH LUDWIG in 3 Bänden”, Wien, 1882. - erster Teil im Register des Codex Urbinus Latinus 1270.
166 pages, Paperback
First published January 1, 1500
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32 people want to read
About the author
Leonardo da Vinci
935 books1,509 followersIt was on April 15, 1452, that Leonardo was born in the town of Vinci, Republic of Florence, in what is now in Italy, the illegitimate son of a notary and a barmaid. It is from his birthplace that he is known as Leonardo da Vinci. Leonardo seemed to master every subject to which he turned his attention: he was a painter, draftsman, sculptor, architect, and engineer, wrote poetry and stories: the prototype Renaissance man!
His Last Supper (1495-97) and Mona Lisa (La Gioconda, 1503-06) are among the most popular paintings from the Renaissance. He and his rival Michelangelo did great service to the medical arts by accurate paintings of dissections, which were only occasionally allowed by the Church. Yet, his artistry appeared to be an afterthought, as he frequently left his works unfinished, and only about fifteen of his paintings survive. His notebooks reveal that he was centuries ahead of his time in mechanics and physic, fortifications, bridges, weapons, and river diversions to flood the enemy, which aided Italian city-states in their many wars.
Leonardo was an early evolutionist regarding fossils. Through his careful observations he noted that “if the shells had been carried by the muddy deluge they would have been mixed up, and separated from each other amidst the mud, and not in regular steps and layers — as we see them now in our time.” Leonardo reasoned that what is now dry land, where these aquatic fossils were found, must once have been covered by seawater.
He was for a short time accused of homosexuality: there is no evidence Leonardo had any sexual interest in women. As he wrote in his notebooks, “The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions.”
And what of his religion? It is significant that at the end of his life he felt he had much spiritual negligence to atone for. His first biographer, Giorgio Vasari, wrote in 1550:
"Finally, …feeling himself near to death, [he] asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and … was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence … showed withal how much he had offended God and mankind in not having worked at his art as he should have done."
There was much skepticism in Renaissance Italy at the time, and Leonardo was an intellectual genius, not just an artistic genius. While there was great intellectual freedom during the Italian Renaissance, there were limits as long as the Dominicans, the “Hounds of the Lord,” were active. This semblance of a deathbed conversion, by so critical a thinker and so great a genius as Leonardo, who would have nothing to lose by professing piety all his life, can only mean that during his prime years he was a secret freethinker.
Leonardo died quietly on the 2 of May, 1519, a few weeks following his 67th birthday.
His Last Supper (1495-97) and Mona Lisa (La Gioconda, 1503-06) are among the most popular paintings from the Renaissance. He and his rival Michelangelo did great service to the medical arts by accurate paintings of dissections, which were only occasionally allowed by the Church. Yet, his artistry appeared to be an afterthought, as he frequently left his works unfinished, and only about fifteen of his paintings survive. His notebooks reveal that he was centuries ahead of his time in mechanics and physic, fortifications, bridges, weapons, and river diversions to flood the enemy, which aided Italian city-states in their many wars.
Leonardo was an early evolutionist regarding fossils. Through his careful observations he noted that “if the shells had been carried by the muddy deluge they would have been mixed up, and separated from each other amidst the mud, and not in regular steps and layers — as we see them now in our time.” Leonardo reasoned that what is now dry land, where these aquatic fossils were found, must once have been covered by seawater.
He was for a short time accused of homosexuality: there is no evidence Leonardo had any sexual interest in women. As he wrote in his notebooks, “The act of procreation and anything that has any relation to it is so disgusting that human beings would soon die out if there were no pretty faces and sensuous dispositions.”
And what of his religion? It is significant that at the end of his life he felt he had much spiritual negligence to atone for. His first biographer, Giorgio Vasari, wrote in 1550:
"Finally, …feeling himself near to death, [he] asked to have himself diligently informed of the teaching of the Catholic faith, and of the good way and holy Christian religion; and then, with many moans, he confessed and was penitent; and … was pleased to take devoutly the most holy Sacrament, out of his bed. The King, who was wont often and lovingly to visit him, then came into the room; wherefore he, out of reverence … showed withal how much he had offended God and mankind in not having worked at his art as he should have done."
There was much skepticism in Renaissance Italy at the time, and Leonardo was an intellectual genius, not just an artistic genius. While there was great intellectual freedom during the Italian Renaissance, there were limits as long as the Dominicans, the “Hounds of the Lord,” were active. This semblance of a deathbed conversion, by so critical a thinker and so great a genius as Leonardo, who would have nothing to lose by professing piety all his life, can only mean that during his prime years he was a secret freethinker.
Leonardo died quietly on the 2 of May, 1519, a few weeks following his 67th birthday.
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May 19, 2025
این کتاب با عنوان "پاراگونه:مقایسه هنر ها" توسط نشر بیدگل چاپ شده
داوینچی تو این کتاب نقاشی رو با شعر و مجسمه سازی و موسیقی مقایسه کرده و با اینکه خودش هم نقاش بود هم مجسمه ساز هم شعر میگفت و هم مهندسی میکرد، نقاشی رو بهترین هنر ها دونسته.
واقعیتش بعضی از استدلال هاش در قرن ۲۱ منطقی به حساب نمیان که طبیعیه ولی اجازه بدید اینو خاطر نشان کنم که اگر موسیقیدان یا شاعر یا مجسمه ساز هستید، نظرات داوینچی ممکنه به نظرتون گزنده باشه و به مذاقتون خوش نیاد😅
داوینچی تو این کتاب نقاشی رو با شعر و مجسمه سازی و موسیقی مقایسه کرده و با اینکه خودش هم نقاش بود هم مجسمه ساز هم شعر میگفت و هم مهندسی میکرد، نقاشی رو بهترین هنر ها دونسته.
واقعیتش بعضی از استدلال هاش در قرن ۲۱ منطقی به حساب نمیان که طبیعیه ولی اجازه بدید اینو خاطر نشان کنم که اگر موسیقیدان یا شاعر یا مجسمه ساز هستید، نظرات داوینچی ممکنه به نظرتون گزنده باشه و به مذاقتون خوش نیاد😅
August 12, 2023
Leonardo da Vinci'nin ne kadar yetenekli Bi dahi olduğunun farkındayım ancak sevdiği şeyi övmek için insanların sevebileceği her şeye laf söylemesi aşırı sinir bozucu geldi. Tamam abi en güzeli resim, tanrının elinden çıkmış muazzam bir sey diğer her şey tezek kokuyor anladık
July 4, 2025
خوانده شد… در روزهایی که دیری است از خود میپرسم:
آیا من هنرمند هستم؟
آیا روزی خود را در مقام نقاش خواهم دید؟
بریدهای از کتاب:
« چون چشم تصاویر و مانندههای چیزها را میگیرد و آنها را به قوه انطباع میدهد و قوه انطباع آنها را به حس مشترک میدهد و در آنجا دربارهاشان حکم میشود؛ اما خیال بیرون از حس مشترک وجود ندارد مگر تا جایی که سراغ حافظه میرود، سراغ جایی که در آن اگر چیزی به تخیل در آمده چنان سرآمد نباشد، خیال باز میایستد و میمیرد. اینجاست که شعر در ذهن یا تخیل شاعر سر بر میآورد که همان چیزهایی را که نقاش نقش میزندجعل میکند.»
- تیرماه، سال ۱۴۰۴ -
پ.ن: ترجمه وحید غلامیپور فرد از انتشارات بیدگل به طرز خارقالعادهای سرسامآور است! مقایسه ترجمه دو متن برگردان از زبان انگلیسی که به عنوان پاورقی در اکثر صفحات آورده شده است، باعث میشود بیشتر به خودت شک کنی که آیا واقعا به زبان مادری خودت - یا از آن هم بدتر قوه فهم متون و کلمات - هم تسلط داری یا خیر؟ :)
آیا من هنرمند هستم؟
آیا روزی خود را در مقام نقاش خواهم دید؟
بریدهای از کتاب:
« چون چشم تصاویر و مانندههای چیزها را میگیرد و آنها را به قوه انطباع میدهد و قوه انطباع آنها را به حس مشترک میدهد و در آنجا دربارهاشان حکم میشود؛ اما خیال بیرون از حس مشترک وجود ندارد مگر تا جایی که سراغ حافظه میرود، سراغ جایی که در آن اگر چیزی به تخیل در آمده چنان سرآمد نباشد، خیال باز میایستد و میمیرد. اینجاست که شعر در ذهن یا تخیل شاعر سر بر میآورد که همان چیزهایی را که نقاش نقش میزندجعل میکند.»
- تیرماه، سال ۱۴۰۴ -
پ.ن: ترجمه وحید غلامیپور فرد از انتشارات بیدگل به طرز خارقالعادهای سرسامآور است! مقایسه ترجمه دو متن برگردان از زبان انگلیسی که به عنوان پاورقی در اکثر صفحات آورده شده است، باعث میشود بیشتر به خودت شک کنی که آیا واقعا به زبان مادری خودت - یا از آن هم بدتر قوه فهم متون و کلمات - هم تسلط داری یا خیر؟ :)
November 5, 2022
Mükemmel güzel sanatkara ilgi duyan herkes okumalı
December 25, 2022
resim en iyi sanat galiba dostum
Displaying 1 - 5 of 5 reviews