Melencolia I

Dürer'sMelencolia I is one of three big prints in 1513 and 1514, known as his Meisterstiche (master version). The other two are Cavalier of his study (19.73.68), Death and Devil (43. 106.2) and St. Jerome. Three of these are never a series, but they comply with the three virtues of medieval academic philosophy - embodying the complexity of Dürer's thinking and the complexity of his age - morality, theology and intellectuals.

Melencolia I draw the state of knowledge of the artist, so I act as self-portrait of Dürer's spirit. In the medieval philosophy, everyone is thought to be dominated by one of the four types of humor; the depression associated with glack is the most undesirable of these four, depression is mad It is considered to be the weakest. However, as the idea of ​​Renaissance also linked the melancholy to a creative genius, this idea changed the position of this sense of humor, while a self-conscious artist realized that his gift brought terrible danger did.

Melancholy flying incarnation, sitting in her hands, sitting heartlessly, other geometrically related instruments, calipers surrounded by one of seven liberal arts based on seven art works The artists like to be close to the perfection of their work. De Occulta Philosophia of Cornelius Agrippa of Nettesheim (almost certainly known to Dürer) may be describing the number I in the title. Creativity in art is a field of imagination, considered the first and is the lowest. Three kinds of genius hierarchies. Next is the area of ​​reason, and the highest area of ​​spiritual realm. Ironically, reflecting the artistic power of Dürer in his best area, the image of the artist is helpless and helpless.

In 1991, Peter-Klaus Schuster published a detailed history of printed version interpretation, Melencolia I: DürersDenkbild in two volumes. His analysis argues that Melencolia I is a "elaborately made fable constructed by opposition to the virtue of virtue and riches nearly graphics" and is questioned with allegorical reading. In the 1980s, scholars began to pay attention to contradictions inherent in printed matter, and discovered that there was a discrepancy between "intention and result" in the seemingly required explanation effort. In stark contrast to Panofsky, Martin Büchsel found that printing negates the concept of Ficino's humanized depression. The confusion of prints contributes to the interpretation of the present day, and makes it a commentary on reasons, thoughts and senses, and limits of philosophical optimism. For example, Dürer may make it difficult to transparentize an image to simulate the experience of an observer's depression.

Albrecht Dürer's strange Melencolia stimulated and stimulated the audience for nearly half a century. Like the sculptures of living creatures like flying bats, the obvious theme of sculpture is Melenkolia - melancholy. However, the word is still controversial as to the intention of Duree and how the mysterious character of printed matter and confusing things contribute to that meaning. While inviting and resisting an interpreter, I proved Dürer 's exceptional intellectual ambition and artistic imagination.