ars In the Middle Ages, without further specification was understood only as a more perfect type of art, as art that is free. A free arts were grammar, rhetoric, logic, arithmetic, geometry, astronomy and music, so - the same study, because the music was understood as the theory of harmony, as musicology. These pieces of content taught in universities Facultas artium, "department head" was not far skills school practical or fine arts, but the theoretical sciences. In the Middle Ages were calculated 7 units are vacant. Arts and mechanical attempt to treat symmetrically for free and also bring them to the number seven. It was not easy, because the mechanical arts was much more, so embarrassing to the list of seven mechanical arts to introduce some, most, or you can specify all seven so widely that each covered a lot of crafts and arts. Najcelniejsze lists seven mechanical arts are at Radulf called fiery (Ardens), and in Hugh of St. Victor, both come from the twelfth century.
Schedule Radulf covered are victuaria ars, which serves nourishing people, lanificaria, serving their przyodzianiu, architectura, giving them shelter, suffragatoria, giving the means of transport, medicinaria, healing illness, negotiatoria, which is the ability to exchange goods, and military, that is the art of defending ourselves against an enemy. List of Hugo (Didascalicon, Feb 24) included the following lanificium mechanical arts, fittings, navigatio, Agriculture, venatio, medicina, theatrica. Where these lists are those which we call the arts. Arts content was classified as one of them and it's just the music because, as was already stated above was understood primarily as a theory of harmony, not as the ability to compose, sing, play. In the lists of motor units is the only architecture (in Hugh incorporated into the broader concept of armature) may eventually be on the list of Hugo also find a play (although "teatryka" was a broader concept, and included all types of art collecting entertaining people, not just theater, but also all Public competitions, races, circus).
Schedule Radulf covered are victuaria ars, which serves nourishing people, lanificaria, serving their przyodzianiu, architectura, giving them shelter, suffragatoria, giving the means of transport, medicinaria, healing illness, negotiatoria, which is the ability to exchange goods, and military, that is the art of defending ourselves against an enemy. List of Hugo (Didascalicon, Feb 24) included the following lanificium mechanical arts, fittings, navigatio, Agriculture, venatio, medicina, theatrica. Where these lists are those which we call the arts. Arts content was classified as one of them and it's just the music because, as was already stated above was understood primarily as a theory of harmony, not as the ability to compose, sing, play. In the lists of motor units is the only architecture (in Hugh incorporated into the broader concept of armature) may eventually be on the list of Hugo also find a play (although "teatryka" was a broader concept, and included all types of art collecting entertaining people, not just theater, but also all Public competitions, races, circus).
And poetry? It is not in any list - and could not be. Already in ancient times since, and still more in the Middle Ages, was considered a kind of philosophy and divination, not per item. The poet was a poet, not an artist. A painting and sculpture? There have been exchanged among the arts, or content, or among machines. But no doubt be understood as art, that is, as a skilful production, carried out according to regulations. There were however considered to be art free, because they require physical effort. So why are not exchanged among the motor? You can answer this question like this: because the lists of the pieces, software, limited to seven, mentioned only the most important and to test the validity of the mechanical arts was a useful, yet the usefulness of fine arts, painting and sculpture, she was little. Why were not mentioned either by Radulf nor by Hugo. Art, which we mainly have in mind when talking about "arts", were once regarded as mechanical and so little is important that they do not deserve it to them in the lists mentioned.
Transition to a new era
Such a system of concepts survived until the new, has been applied even in the era of the Renaissance. But it is precisely in this period began to change. To the old notion of art has produced it, which today is the most used, had to do two things: first, the field of art had to be eliminated, crafts and sciences, and the attached poetry, and secondly, she had created the awareness that what is the elimination of the arts and crafts science, is a unified whole, a distinct class of skills, human actions and products. With the connection of poetry to the arts was the easiest: Aristotle, comparing the rules of tragedy, he treated it as a skill, and so art.
In the Middle Ages, it actually went into oblivion, but now we had just recalled. And when in the mid-sixteenth century, Aristotle's Poetics has been released in Italy, translated, commented, when aroused admiration and gained numerous followers, belonging to a piece of poetry no longer evoke any doubts. The breakthrough You can specify exactly: Italian translation of the Poetics (Segniego) is from the 1549 and since then he begins a series in the spirit of Aristotle's Poetics. To separate art from craft contributed to the social situation: artists striving to increase its position. The beauty of the Renaissance era has come to be valued higher and play a role in his life, which has not been since ancient times, the above were also appreciated by the manufacturers, painters, sculptors, architects, we indeed saw themselves as something better from the artisans, they wanted to break up a community of artisans. Have helped them, unexpectedly, the bad economic situation, trade and industry, which flourished in the late Middle Ages, now podupadały, all existing capital investments have proved to be unreliable - and works of art were regarded as no worse place, or even better than the others.
This improved financial status and social position of artists and in turn raised their ambitions, they wanted to be honors, separated from the craft, treated as representatives of the liberal arts. I achieved this, albeit only gradually, from the earlier painters sculptors. It was more difficult to separate the fine arts from the sciences, this is what hindered the ambitions of painters and sculptors. They had a choice: to be treated as artisans or as scholars - they chose the latter. Because social status of scholars was incomparably higher. And at the same time tended towards this traditional concept of art based on it. knowledge of laws and rules. Ideal of the great artists of the Renaissance was to explore directing their work, to calculate his works with mathematical exactitude. This applies, in particular, Piero della Francesca, but also Leonard. It was a typical trend in recent decades of the fifteenth century: Luca Pacioli wrote down its calculations a great proportion of the De dmna proportione in 1497, Piero De perspectiva pingendi its a bit earlier.
This improved financial status and social position of artists and in turn raised their ambitions, they wanted to be honors, separated from the craft, treated as representatives of the liberal arts. I achieved this, albeit only gradually, from the earlier painters sculptors. It was more difficult to separate the fine arts from the sciences, this is what hindered the ambitions of painters and sculptors. They had a choice: to be treated as artisans or as scholars - they chose the latter. Because social status of scholars was incomparably higher. And at the same time tended towards this traditional concept of art based on it. knowledge of laws and rules. Ideal of the great artists of the Renaissance was to explore directing their work, to calculate his works with mathematical exactitude. This applies, in particular, Piero della Francesca, but also Leonard. It was a typical trend in recent decades of the fifteenth century: Luca Pacioli wrote down its calculations a great proportion of the De dmna proportione in 1497, Piero De perspectiva pingendi its a bit earlier.
Only in the later years of the Renaissance appeared in opposition to the strict, scientific and mathematical concepts: art can do even more than science, but we can not do the same. The announcement of this opposition is already in Michelangelo, with all dobitnością he was denounced by Galileo Galilei. Separation of fine arts from the crafts and sciences, however, it was easier than getting the awareness that they themselves are single class. Long lacked the concepts and words that would be included in total: one had only the concepts and words produced. Today, almost hard to comprehend that the Renaissance did not have a concept originally a sculptor, such a notion, which we use. Still Angelo Poliziano in his encyclopedia of units (Panepistemon), published in the late fifteenth century, used the five different concepts instead of one: statuarii (those who work in stone), caelatores (work in metal), sculptores (the tree) , fictores (in clay), encausti (in wax). Those manufacturers separated rather than coming, as in the present system, concept and layout are separated rather a professional carpenter, bricklayer, than coming from. Art of each of the five called for another, because everyone worked in different media and other means. Only in the sixteenth century began to merge concepts has produced a more general concept, covering these five categories, as its name that the name employed in the tree, sculptores, which covered the time, also those who use the stone, metal, clay and wax.
At the same time made further merging. Finally created the awareness that the products of the sculptor are related to the ability and the creations of the painter and architect, related to such an extent that may be covered by a single concept, called a common name. Today it seems strange that it happened so late that so long handled without an overall concept of the visual arts. In the sixteenth century the notion has already created, the name of "art" or "fine arts" was not used. They said while the "arts of drawing," arti del disegno. The name is derived with the belief that drawing is what unites these arts, which is common to them. To merge three pieces can be read in the lives of Vasari (Le Vite) and the Treaty of excellent proportions (Trattato della per f et this proporzioni, 1567) Dantiego.
Although the concept of formation of the arts of drawing, he was not yet achieved the present conceptual system: the art of drawing has not yet been put together with music, poetry, theater. It was not for these units and the common concept of the term. Efforts towards the creation began in the sixteenth century, but the thing proved to be difficult implementation this task took about two centuries. There was already aware of the proximity of all these pieces, but it was not clear what links them together and also from the crafts and sciences are separated, how they can be created for all of them shared the concept. From the fifteenth to the eighteenth century trials and there were many ideas.
Arts
One of the authors tried to separate pieces of the "mental", and others 'musical', 'noble' "Memory", "imaging", "poetic" and finally "beautiful." Mental art. G. Manetti, Florentine humanist (De dignitatem excellentie et hominis, 1532) already in the middle of the fifteenth century, extract a piece of ingenuae artes, which is the name of art can be translated as "mental" but also "smart." He was referring to those that are the product of the mind and the minds of the draw, and thought that are the product of a special, unusual, clever. However, matter little to modernize the concept of art has moved forward, came up with a new name, but not a new concept: it was simply a new name for a piece of "free", this remained the same, turning it on learning the old way and not involve poetry.
Musical Arts. Marsilio Ficino, the head of the Platonic Academy in Florence, who wrote half a century later, made the Manettiego more. In a letter to Paul de Middleburgh wrote in 1492: "The age of ours, this golden age of justice gave the arts a free, long neglected: grammar, poetry, rhetoric, painting, architecture, music and the ancient singing of Orpheus."
the opposite of Manetti: conserving the name (content pieces), but it took another, a new team head; included architecture and painting, that were previously understood as a mechanical art, and poetry, which does not count the pieces. He managed to unite the arts, which today we consider appropriate, and separate them from the craft. On what basis did this?
This question alone is responsible in another list, namely Canisiana: "It's music-writing-it gives inspiration to authors: speakers, poets, sculptors and architects." So the incident as a liaison between the music and its art can be extracted, according to his mind, though he did not use the adjective, called "music". Since antiquity, "music" and "Music" were ambiguous concepts: the narrower sense of sounds related to art, more - all of which are on the "services Muses." It can therefore be a link between the arts, the distinguished by Ficino to see in their melodic and rhythmic structure, but also more broadly - in the service of the Muses "or, as he wrote, the inspiration of artists.
Art Precious
second half-century later Giovanni Pietro Capriano in his poetics of the 1555r. (De vera poetica) separated pieces of a similar syndrome, but in a different way and under a different name, namely the arts "noble." He wrote: "The name of precious pieces should only be those which are the subject of the noblest of our senses, najrozległej Szych our abilities, which also are characterized by life: such is poetry, painting, sculpture." The basis for the separation of these pieces was their guest: art These are a separate group because they are much better, nobler, more enduring than others. Art memory. Castelvetro Lodovico, whose name is one of the most popular names in the history of poetics, commented on this in the Treaty of 1572 (Corretione, p. 79) identified a certain group in the arts and contrasted them to craft yet another way. Art craft produce things people need, while others, such as painting, sculpture, poetry, serve as judge, but to ensure that things and events Keep in mind. So he called them, commemorative della arti memoria. "They had a somewhat different scope than" music "or" noble "does not include, for example architecture. However, the idea of \u200b\u200bCastelvetrano is the notion of art in the history of a place no less important than ideas Ficino or Capri. Imaging Arts .
Some writers sixteenth and seventeenth century put forth the idea that what is art "noble" or "memory" really stands out is their imagery, that speak to specific images, not abstractions, and patterns. It combines the imagery of their art, in an otherwise different as painting and poetry. In this sense, it was repeated from Horace's ut Pictura Poesis password. As a representative of this thought can be distinguished Ciaude Menestriera Francois, a French seventeenth-century historian, heraldry, art theorist (Les Recherches du Blason, 1683, I). He argued that all the noble art paintings operate, "travaillent en images".
Some writers sixteenth and seventeenth century put forth the idea that what is art "noble" or "memory" really stands out is their imagery, that speak to specific images, not abstractions, and patterns. It combines the imagery of their art, in an otherwise different as painting and poetry. In this sense, it was repeated from Horace's ut Pictura Poesis password. As a representative of this thought can be distinguished Ciaude Menestriera Francois, a French seventeenth-century historian, heraldry, art theorist (Les Recherches du Blason, 1683, I). He argued that all the noble art paintings operate, "travaillent en images".
poetic art. That password Horace were reminiscent of the sixteenth and seventeenth centuries and then reversed, and it sounded ut Pictura Poesis. This reversal was given express the conviction that poetic, kinship with poetry is that which separates od rzemiosł sztuki takie jak malarstwo. Sposób zaś myślenia był w owych wiekach taki, że "poetycki" czy "poetyczny" znaczył tyle, co przenośny, metaforyczny. I dla niektórych pisarzy ta przenośność i metaforyczność stanowiła właściwy łącznik sztuk szlachetnych, nierzemieślniczych. Najwymowniejszym rzecznikiem tej myśli był Włoch Emanuel Tesauro w książce z 1654 r. (Canocchiale Aristotelico, s. 424). Dla niego, który należał do manierystów literackich, doskonałość sztuki polegała na arguzia, czyli subtelności; a "wszelka subtelność jest przenośnią" (ogni arguzia e un parlar FIGURATO).
Not figuratively, in the craft creations, but in a literary, dramatic, and in paintings, sculptures, dances: all the metaphors they live, their common feature that they only have. Arts. Already in the sixteenth century, Francesco da Hollanda, speaking of the fine arts, casually used the phrase "fine art" (boas artes in the original Portuguese version). But the expression, but to us it seems so natural, so far not adopted the. The concept, which corresponded to the expression (although it did not use the expression), there clearly in the second half of the seventeenth century, notably in the great treatise on architecture, published in 1675 by Francois Blondel (Cours d'architecture, 1675, p. 169).
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