Post by ariston on Jan 5, 2008 0:58:09 GMT -5
Dear Fellows and Kindred spirits,
Just to have a tenth of Raphaels Talent
[/u]
Rpresenting Plato's Academy in Athens. Founded in a Grove sacred to the deity Academius, hence the name.
The Central figures of Plato and Aristotle deep in discussion, obviously about the nature of things. Plato has his finger pointed upwards and Aristotle, his most prestigous student, has the flat of his palm motioning downwards. His alternative to Plato's ordered craftmanship anf his assertions that the order is but an effect of nature.
This mirrors Raphaels depiction of Ptolemy holding aloft a sphere of the heavens together with another sphere of the Earth. Above and Below.
In this we have a consistency, in his Republic, Plato refers to his 'Play on words' an etymological reference, which can be found to have resonance with pastmasters, such as Hesiod in his Theogony; in that the similarity in word structure may provide some insight into development, with this we glean that the word for HEAVEN in greek; OURANOS, is shown to be derived from the words for LOOK UPWARDS/HORAN ANO.
This Plato then, pointing upwards, in reference to the Heavens, whilst Aristotle, ever the rationalist, beckons downwards.
Raphaels inference has analogies with that line in the Lords Prayer; ON EARTH AS IT IS IN HEAVEN;. In the original Greek it was Heaven first.
This is also analogious with the work of other masters, Leonardo especially, who utilises the so called 'finger of St John more than once in his works. The Last Supper and Two versions of John, one of them revised from the original portrayal of Bacchus/Dionysius, HE OF THE VINE, which is not in stark contrast to the paraphenalia of Christ and another Figure of death and resurrection, synonymous with OSIRIS.
Leonardo's best example being The Madonna and Child with St Anne and John.[/i]
The Classical greek influence made absolute by the existence of the LOGOS/WORD(as Christ) that has its origin in the works of The Classical Philosophers all present in Raphaels picture, predominantly Pythagoras in white in the foreground. The Gospel of St John begins telling us that THE WORD became 'flesh'.
On closer inspection, Raphael has Plato holding within his grasp, a copy of TIMEO/TIMAEUS. The Cosmology of which deals specifically with the Reasoning of the Divine Mind or Word Soul, THE LOGOS.
The Finger of John - The Word - The Logos Of The Timaeus. Raphael is having his own play on words and visual associations,
Leonardo revising the image of St John to that Bacchus also connects the paraphenalia of that with Christ, in that Bacchus/Dionysius shares all the same symbols and dates with Christ, born of a Virgin Mother, he is the God of the winepress, he is born on the 25th of December, etc..This also has astronomical/logical resonance in that the dates of all figure match the summer and winter solstices. Dionysius was made one of the 12 olympians for rescuing Hera.
'....And the Winepress was trodden without the city, and blood came out of the Winepress....'REVELATIONS 14:20
Bacchus by Leonardo[/b][/u] Bacchus meaning The Twice Born.
Raphael is subscribing to a Platonic Revelation, the relationship can be shown in more ways than one. A lot rests on exactly why he would insert TIMAEUS into the arms of Plato, after all it certainly is not his greatest work, but maybe his most profound.
Such a beautiful painting must have taken meticulous calculation, not something that one would execute on a whim, only with purpose.
Everyone has their own interpretation, clearly by linking Plato's school with that John and the Logos, Raphaels was anything but orthodox.
Timaeus was also a dialogue about a Atlantis, which leaves open a host of questions regarding intent.
Latona
Just to have a tenth of Raphaels Talent
The School in Athens
Rpresenting Plato's Academy in Athens. Founded in a Grove sacred to the deity Academius, hence the name.
The Central figures of Plato and Aristotle deep in discussion, obviously about the nature of things. Plato has his finger pointed upwards and Aristotle, his most prestigous student, has the flat of his palm motioning downwards. His alternative to Plato's ordered craftmanship anf his assertions that the order is but an effect of nature.
This mirrors Raphaels depiction of Ptolemy holding aloft a sphere of the heavens together with another sphere of the Earth. Above and Below.
In this we have a consistency, in his Republic, Plato refers to his 'Play on words' an etymological reference, which can be found to have resonance with pastmasters, such as Hesiod in his Theogony; in that the similarity in word structure may provide some insight into development, with this we glean that the word for HEAVEN in greek; OURANOS, is shown to be derived from the words for LOOK UPWARDS/HORAN ANO.
This Plato then, pointing upwards, in reference to the Heavens, whilst Aristotle, ever the rationalist, beckons downwards.
Raphaels inference has analogies with that line in the Lords Prayer; ON EARTH AS IT IS IN HEAVEN;. In the original Greek it was Heaven first.
This is also analogious with the work of other masters, Leonardo especially, who utilises the so called 'finger of St John more than once in his works. The Last Supper and Two versions of John, one of them revised from the original portrayal of Bacchus/Dionysius, HE OF THE VINE, which is not in stark contrast to the paraphenalia of Christ and another Figure of death and resurrection, synonymous with OSIRIS.
Leonardo's best example being The Madonna and Child with St Anne and John.[/i]
The Classical greek influence made absolute by the existence of the LOGOS/WORD(as Christ) that has its origin in the works of The Classical Philosophers all present in Raphaels picture, predominantly Pythagoras in white in the foreground. The Gospel of St John begins telling us that THE WORD became 'flesh'.
On closer inspection, Raphael has Plato holding within his grasp, a copy of TIMEO/TIMAEUS. The Cosmology of which deals specifically with the Reasoning of the Divine Mind or Word Soul, THE LOGOS.
The Finger of John - The Word - The Logos Of The Timaeus. Raphael is having his own play on words and visual associations,
Leonardo revising the image of St John to that Bacchus also connects the paraphenalia of that with Christ, in that Bacchus/Dionysius shares all the same symbols and dates with Christ, born of a Virgin Mother, he is the God of the winepress, he is born on the 25th of December, etc..This also has astronomical/logical resonance in that the dates of all figure match the summer and winter solstices. Dionysius was made one of the 12 olympians for rescuing Hera.
'....And the Winepress was trodden without the city, and blood came out of the Winepress....'REVELATIONS 14:20
Bacchus by Leonardo[/b][/u] Bacchus meaning The Twice Born.
Raphael is subscribing to a Platonic Revelation, the relationship can be shown in more ways than one. A lot rests on exactly why he would insert TIMAEUS into the arms of Plato, after all it certainly is not his greatest work, but maybe his most profound.
Such a beautiful painting must have taken meticulous calculation, not something that one would execute on a whim, only with purpose.
Everyone has their own interpretation, clearly by linking Plato's school with that John and the Logos, Raphaels was anything but orthodox.
Timaeus was also a dialogue about a Atlantis, which leaves open a host of questions regarding intent.
Latona
