Connessioni tra Dante e le arti figurative con particolare riferimento ai codici miniati della Divina Commedia e alle stampe quattrocentesche che illustrano il poema dantesco

Abstract

The Comedy soon had a widespread and attracted the admiration of the artists and, in the first place, the illuminators, the code of the Philippine Library Oratorian Girolami of Naples, for example, and the Comedy of the British Library Additional 19587 London, are among the most original interpretations of Dante's verses. The charm of the Comedy was also warned by the eminent painters of the Fourteenth and Fifteenth centuries, such as Botticelli, genes in contact with the genius of Dante. From the methodological point of view I thought it appropriate to set the work on a few key points: 1) The Comedy and its symbolic and archetypal elements, the "ideas primary", figures that do not stem from personal experience, but they are already present in the layers deepest of the human psyche (the sea, the mother, the wise old man). The archetypes in time, therefore, present fine arts and studied medieval poet always through the many aspects of the real world, real creative principle of similarity Dante. 2) The arts and the Commedia: the text of the Commedia as a producer of images. Dante manages to include events, landscapes and feelings so deep concrete causing the reader to see other reality than that expressed by the triplet of the poem. In the descriptions of the places the poet evokes the infernal darkness illuminated by violent and sudden flashes of light, figures, those of Dante, who compete and exceed the naturalism of contemporary paintings by Giotto, especially in the description of Eden, where an imaginary world becomes through physical 'analysis of climatic conditions and the reference to "the shore of Chiassi." 3) The Divine Comedy as an inspiration for artistic representation back to Dante. The vision of the verses of Dante's poem in the codes of Drama, where large-scale miniatures and skilled workmanship make variants, sometimes significant, to triplets, especially in the depiction of mythological monsters and demonic creatures. 4) A theoretical study on the concept of divine art in Dante. In many places the poem emerges the concept of a "Deus Artifex." The door to hell, through its inscription, Dante felt that it was built by God and for this reason that passes through it is subject to a sentence final. An idea that we find in the canto XXXI of the Hell, in the figuration of a master, whose identity is unknown, who managed to trap the Giants in the bottomless pit hell (vv. 85-90).