Abstract
At the University of Paris, scolastics schoolmen raise two paradoxical philosophic lines of Aristotelian thought about art and nature : although the products of art present an obvious ontological weakness and a dependence with regard to nature, artificialia as well as naturalia share an ideal of perfection. The medieval discussions turn gradually art and nature onto several convergences and complementarities deeper than those envisaged in Antiquity. In the heart of their oppositions on the quarrel of universals, the medieval thought enrich the art of new generative powers and envisage it as shape of composition, geometrical figure, principle of knowledge.
Published Version
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