| Abstract [eng] |
The aim of the dissertation is to provide an overview of the aesthetics of the early Baroque period as it appears in the art theory treatises of the post-Tridentine Catholic authors Giovanni Andrea Gilio, Carlo Borromeo, Gabriele Paleotti and Federico Borromeo, and to highlight the main categories and criteria of aesthetic evaluation. This dissertation analyses how the changing concept of spirituality, the needs of religious life and the immanent development of the visual arts created the conditions and necessitated a rethinking of the aesthetic criteria of evaluation of sacred art, which had to be in line with the tradition of the Catholic Church and with the doctrine confirmed by the Council of Trent, but also to reflect the changes in theology, the needs of the early modern period and the shifting aesthetic paradigm. One of the main premises of the dissertation is that in post-Tridentine Catholic treatises on art theory, a systematic paradigm for evaluating sacred images emerges, based on the cultural and ideological experience of the Renaissance, but also setting specific criteria for sacred works of art that reflect the reforms and needs of religious life. The dissertation identifies these new aesthetic categories as historicity, verisimilitude, modesty, sacredness, and decorum, of which decorum was the fundamental category of aesthetic evaluation in the post-Tridentine discourse of art theory, reflecting the spirit of the age and the needs of modern spirituality for sacred images. |
