Beauty in the Form of Quantitative Criteria in Da Vinci's Last Supper Painting with the Approach of Umberto Eco's Theories

Document Type : Original Article

Authors

1 Ph.D. Student of philosophy of art, faculty of art and architecture, Tehran Branch, Islamic Azad University, Tehran, Iran.

2 PhD in Philosophy of Art, Faculty of Literature, Allameh Tabatabai University, Tehran, Iran.

3 PhD in Philosophy of Art, Faculty of Art and Architecture, Tehran Branch, Islamic Azad University, Tehran, Iran.

10.22034/ias.2021.269660.1520

Abstract

Indisputably, beauty is one of the fundamental elements of art in various societies. This issue has instigated researchers in various periods to attempt to analyze the criteria of beauty in works of art in various ways. In Europe, the Renaissance can be considered as one of the brightest eras of art and exquisiteness. Painting was one of the most chief arts and Leonardo da Vinci was one of the most significant painters of this period. The Last Supper of Christ is one of the most significant events in Christianity. Many artists throughout history have addressed the issue, one of the most imperative of which is Leonardo da Vinci's Last Supper mural. The prominence of this work is such that it has been analyzed and studied from diverse aspects. In Medieval Art and Beauty, Umberto Eco discusses the formation of art and its broad angles. The formation of Renaissance art owes much to medieval tradition and art. On the other hand, the theories and ideas of Umberto Eco in the twentieth century, which is mainly an explanation of beauty, show a new perspective on the intellectual infrastructure of Renaissance artists, which is especially evident in the theory of Da Vinci art. The present study has investigated this issue in a descriptive and analytical manner based on library sources. In the present study, quantitative criteria in Da Vinci Art Theory include the use of symmetry, proportionality, perspective, and applied principles of mathematics in field of art. The results indicate that Umberto Eco's aesthetic theories underlie the formation of Renaissance theories and art, especially in the formation of Da Vinci's works, a case study of which is The Last Supper.

Research aims:
1. To quantitatively observe an aesthetic review in Leonardo da Vinci's Last Supper;
2. To explain the infrastructures of the formation of Renaissance art and its reflection in Da Vinci's Last Supper with the approach of Umberto Eco's theories.

Research questions:
1. What are the quantitative criteria such as dexterity and coordination in the formation of Leonardo da Vinci's Last Supper?
2. How does Umberto Eco's analytical discussions show the quantitative infrastructure in Leonardo da Vinci's Last Supper?

Keywords

References

Akbari, M. (2007). A study of light and shadow in Da Vinci's treatise. Thesis Master Thesis. Al-Zahra University. [In Persian]
Alaei, M. (2003). "Leonardo da Vinci: Terrible Symmetry." Journal of Beautiful Recognition, 9, pp. 284-279. [In Persian]
Barash, M. (2019). Theories of Art. Translated by Mohammad Reza Abolghasemi, Tehran: Cheshmeh Publishing. [In Persian]
Berger, S. (2017). The Art of Philosophy: Visual Thinking in Europe from the Late Renaissance to the Early Enlightenment. Princeton University Press.
Davinci, L. (2017). Thoughts on Art and Life. Independently Published.
Eco, U. (2002). Art and Beauty in the middle Ages. Yale University Press.
Eco, U. (2013). History of Beauty, translated by Homa Bina. Tehran: Academy of Arts Publications. [In Persian]
Eead, S. (2017). Art and science. Translated by Mehrdad Grossi. Tehran: Scientific and cultural publications. [In Persian]
Farthing, S (2010). Art: The Whole Story. London: Thames and Hudson Publishing.
Inge, W. R. (2014). The Permanent Influence of Neoplatonism upon Christianity. Chicago Journals. Vol. 4, No. 2, pp. 328-344.
Jahani Nasab, A. (2017). "The Role of the Renaissance in European History and Its Consequences". Journal of the Research of Nations. 23, pp. 16-1. [In Persian]
Hankins, J. (2007). Renaissance Philosophy. Cambridge University Press.
Laurenza, D. (2012). Art and Anatomy in Renaissance Italy. New York: Metropolitan Museum of art.
Lobo, M. & Razani, M. (2004). "Art and Art". The magazine recognized the beautiful magazine. 11, pp. 248-239. [In Persian]
Mack, M. (2012). Treatise on Painting, New ed. London: Create Space Independent Publishing Platform.
Maziar, A. (2015). Image and word contrast in Paragon Leonardo and Laocoon Lessing, Master Thesis, University of Arts. [In Persian]
Mohammadi Khaneghashlaghi, F. (2015). Image and word contrast in Paragon Leonardo and Laocoon Lessing. Master Thesis. Art university. [In Persian]
Ormiston, R. (2011). The Life and Works of Leonardo Da vinci. Hermes House Publishing.
Qarabaghi, A. A. (2005). "The Story of Mona Lisa". Golestaneh Magazine, 70, pp. 51-42. [In Persian]
Qarabaghi, A. A. (2005). "The Story of Mona Lisa (2)". Golestaneh Magazine, 71, pp. 40-32. [In Persian]
Sasani, F. (2003). Leonardo da Vinci's Readings. Journal of Beautiful Knowledge, 9, pp. 300-295. [In Persian]
Schmitt, Ch. (2008). The Cambridge History of Renaissance Philosophy. London: Cambridge University Press.
Sheppard, A. (2005). Neoplatonism. Journal of Brill. Vol. 50, No. 4, pp. 346-350.
Suh, H. A. (2017). Leonardo’s Notebooks: Writing and Art of the Great --Master (Notebook Series), Black Dog & Leventhal; Reprint edition.
Varamini, B. (2012). A study of the life and works of Leonardo da Vinci, Master Thesis. Islamic Azad university. [In Persian]
Wazari, G. (2009). Life of Artists, Translated by Ali Asghar Qara Qarabaghi. Tehran: Institute of Islamic Culture and Art. [In Persian]
Zoller. F. (2017). Leonardo Davinci. The Complete Paintings. Taschen publication.
Islamic Art Studies
Volume 18, Issue 42 - Serial Number 42
February 2021
Pages 313-326

Files

Share

How to cite

Statistics