The article is devoted to the philosophical interpretation of Renaissance art as a form of cultural and existential salvation of humanity. Through the analysis of the key ideas of humanism, Neoplatonism and the aesthetics of mimesis, the transformation of artistic thinking from theocentrism to anthropocentrism is considered. Particular attention is paid to rethinking the status of the artist, the symbolic multi-layered nature of works and the conceptualization of beauty as a path to the knowledge of truth. Renaissance art is considered as a philosophical act that connects reason, spirit and harmony with visual expressiveness. The work is based on the synthesis of works by classics of the philosophy of art and modern researchers, including Scopus sources, and can be useful in the framework of art history, aesthetics, cultural history and, therefore, philosophical research.

Tomaso Buzzi's La Scarzuola is a fantastic architectural landscape of neoclassical buildings and disparate typologies of theatres and temples arranged around a mediaeval Franciscan convent isolated in the Umbrian countryside. Tomaso Buzzi, an Italian architect and interior designer who bought the small abandoned monastery in 1957, conceived of this place as his personal city on the periphery — hence the name ‘Città Buzziana’. This paper argues that the location on the periphery allowed Buzzi to deconstruct the logic of an urban fabric like that of Milan (where he taught architectural design as a professor at the Politecnico) or Rome (where he lived and worked) by establishing new frames of reference that emerged from Buzzi's inner world: his dreams, thoughts, memories, and his readings of poetry and fiction. Grounded on the works of Renaissance art, architecture, and literature, most evidently from Francesco Colonna's Renaissance novel, Hypnerotomachia Poliphili (1499), Buzzi's city emerged as a bizarre theatre dreamscape that counteracted not only the urban planning trends of his times but, more generally, the regime of functionalism and rationalism in architecture. As this paper argues, the periphery is a fundamental prerequisite for Buzzi's imaginary city to be designed and come to life.

One of the greatest German Renaissance artists, Albrecht Dürer, noted for his realistic works of art, painted and engraved the Christ child and Eve with characteristic postures of the upper limb resembling the sequel of Erb palsy. However, there is no Biblical evidence to suggest that the Christ child or Eve had paralysis of the upper limb. It appears conjectural as to why Dürer chose to depict the limbs of his subjects in this manner.

This study examines how visual art served as both a means of nationalist resistance and an instrument of imperial control in British colonial India. In order to defend colonial domination, art schools and institutions under British rule imposed Western academic realism, rejecting native Indian artistic traditions as inferior and archaic. Indian artists were reduced to artisans by art schools in places like Madras, Calcutta, Bombay, and Lahore, which imposed European aesthetic standards and matched art with colonial economic interests. This cultural dominance, which reflected a larger colonial project of material, cultural and intellectual subjugation, attempted to reshape Indian identity by regulating artistic expression. In the early 20th century, a nationalist counter-movement known as the Bengal School of Art arose in response. Under the direction of Abanindranath Tagore and with assistance from individuals like Ananda Coomaraswamy and E.B. Havell, the School brought back traditional techniques, mythological themes, and indigenous styles as a way to resist colonial realism and assert cultural identity. This artistic renaissance was supported by organisations such as the Indian Society of Oriental Art, which promoted an anti-Western, spiritual interpretation of Indian modernism with roots in precolonial history. The article also discusses post-independence artists' criticisms of the Bengal School, who saw its revivalist spirituality as out of step with current social and political issues. In its conclusion, this study shows how visual art in colonial India was an area of contention where colonial power was both used and resisted, highlighting the close connections between politics, identity, and art during this pivotal time in Indian history.

This study examines the transformative development of Saudi Arabia's performing arts industry against the backdrop of modern secularization, framed within the nation's Vision 2030 economic diversification strategy. Historically constrained by strict interpretations of Islamic law, the sector has experienced unprecedented growth due to policy reforms, including the lifting of bans on public performances and cinemas, coupled with substantial state investments. Through a PEST (Political, Economic, Social, Technological) analysis, the paper highlights key drivers of change: political liberalization under Vision 2030, economic incentives targeting 3% GDP contribution by 2030, shifting youth-dominated social attitudes, and digital innovation enabling global reach. However, tensions persist, including conservative resistance, content censorship, and reliance on government funding, underscoring the challenge of balancing modernization with Islamic values. The study identifies strategic opportunities, such as "halal" entertainment models and cultural tourism, while emphasizing the need for private sector engagement and inclusive digital infrastructure. By navigating these dynamics, Saudi Arabia is poised to emerge as a global cultural hub, harmonizing its artistic renaissance with Quranic principles of creativity and beauty. This research offers critical insights for policymakers and investors navigating the intersection of cultural development and religious identity in Islamic contexts

The specialization in art and science led to the appearance of new disciplines and sub-disciplines. It became impossible for an artist or for a scholar to comprehend many fields, although the links between these could help the developments significantly. This is also a problem in university education since reality is not divided into departments like the universities. As a result, we have “two cultures”: art and humanities vs. science and technology. This talk aims to link art and science by using several bridges [].One of the bridges is the discovery of C60, a third variety of carbon in the form of a truncated icosahedron, one of the so-called Archimedean solids. This discovery has generated enormous interest in many areas of physics, chemistry, and material science. Furthermore, it turns out that C60 is only the first of an entire class of closed-cage polyhedral molecules consisting of only carbon atoms - the fullerenes (C20, C24, C26, ... C60, ...C70, ... carbon nanotubes). The main emphasis will be on morphological aspects of fullerene molecules and fullerene-like structures. I will also discuss how Nature uses fullerene-like structures to minimize energy and matter resources in molecules and nanoclusters, viruses, and living organisms [2]. Examples of the achievement of such goals in architecture (especially in geodesic domes designed by Richard Buckminster Fuller, his predecessors, and followers) will also be presented.Other bridges are based on the history of science and art. I will review the long history of exploring polyhedra in mathematics and art, going in-depth through time until the Renaissance and even classical antiquity. It is of special interest that the great Renaissance artists contributed to the development of the geometry of polyhedra in general and the discovery of the Archimedean solids in particular [3]. Among them are Piero della Francesca, Leonardo da Vinci, Albrecht Durer, Paolo Uccello, Rafael, Fra Giovanni de Verona, Bramante, Baldassare Peruzzi, Giuliano da Sangallo. Some analysis of the paintings of these artists, mainly from the points of view of mathematics and theory of perspective, will be presented. Examples of fullerene-like polyhedra in other cultures (Arabic/Persian, Chinese [4]) and modern art will also be demonstrated. References A. Katz. Bridges between mathematics, natural sciences, architecture and art: case of fullerenes. Proc. of the 1st International Conference "Art, Science and Technology: Interaction between Three Cultures", Domus Argenia Publisher, Milano, Italy, pp. 60-71 (2012).A. Katz. Geometrical analysis of fullerene and radiolaria structures: Who gets the credit? Mathematical Intelligencer, v.36, No.1, p. 34-36 (2014).V. Field, Rediscovering the Archimedean Polyhedra: Piero della Francesca, Luca Pacioli, Leonardo da Vinci, Albrecht Durer, Daniele Barbaro, and Johannes Kepler, Archive for History of Exact Sciences, vol. 50, pp.241-283, 1997.A. Katz and B. Y. Jin, Fullerenes, Polyhedra, and Chinese Guardian Lions, Mathematical Intelligencer, Vol. 38, No. 3, pp. 61-68.

A group of masters who worked at the court of the French king Francis I and his successors left a bright mark on the fine art of the Renaissance. The object of the current study is a female nude portrait as part of the heritage of the Fontainebleau School. The Italian origins of this genre are traced, an attempt is made to explain the reasons for its special popularity in France in the XVIth century; sources of iconography are determined, stylistic features of some portraits and their connection with the tradition of Gothic and early French Renaissance art are analyzed. The author proposes to consider the female portraits made by the masters of the School of Fontainebleau in terms of belonging to the court culture including the festive one.

Channel attention deep learning for renaissance art analysis

The image of Christ’s robe, seen through the orb held by Christ in the painting Salvator Mundi by the Italian Renaissance artist Leonardo da Vinci, has led to speculation that the orb consists of a glass (or rock crystal, calcite) sphere that is either hollow or solid. Da Vinci’s drawings and notes indicate that he had an intense interest in the optics of the eye and in the natural world around him. Is it possible that he was depicting the optical quality of the spherical fish lens, a lens with a gradient refractive index that neutralizes the spherical aberration that would otherwise exist?

This paper explores the multifaceted symbolism of nudity in Renaissance art, going beyond its aesthetic appeal to uncover deeper philosophical, cultural and social significance. During the Renaissance, nudity in art represented a profound shift from medieval perceptions of the human body, influenced by the revival of classical antiquity and humanism. The paper highlights the contributions of prominent artists such as Michelangelo and Leonardo da Vinci, whose works embodied the ideals of beauty, truth and human perfection. By examining key works such as Titians Sacred and Profane Love and Botticellis Spring, the paper illustrates how Renaissance artists used nudity to convey transcendent truths and humanistic values. Furthermore, the paper discusses the impact of gender norms and social roles on the depiction of the nude, particularly the dichotomy between male and female representation. Ultimately, this research demonstrates how Renaissance nude art served as a medium for intellectual and philosophical exploration, inviting viewers to engage in contemplation and reflection on the essence of humanity.

Giambattista della Porta (1535–1615) was a Renaissance scholar whose work De Humana Physiognomonia (1586) proposed that facial features reflect inner character and fate. Although modern science has debunked physiognomy, its influence persists in aesthetic ideals and plastic surgery. This study examines the historical significance of della Porta’s theories, their impact on facial aesthetics, and ethical considerations in modern plastic surgery. Through a historical and comparative analysis of primary sources, including Renaissance anatomic texts and modern literature, this study explores physiognomy’s lingering effects on contemporary aesthetic preferences. Della Porta associated facial features with personality traits, reinforcing societal norms of beauty and morality. His theories influenced criminology, Renaissance art, and scientific thought, shaping enduring perceptions of attractiveness and trustworthiness. Despite its pseudoscientific basis, physiognomy’s core ideas persist in plastic surgery. Many patients seek procedures that align with culturally idealized traits, such as a strong chin for authority or youthful lips for warmth. Although plastic surgery offers aesthetic and psychological benefits, including enhanced self-esteem, it also risks reinforcing harmful stereotypes, unrealistic beauty standards, and psychological distress, particularly in individuals with body dysmorphic disorder. By the 19th and 20th centuries, psychology and neuroscience refuted the claim that facial features determine personality. Nevertheless, della Porta’s emphasis on facial harmony and proportion remains relevant in aesthetic and reconstructive surgery. Plastic surgeons must navigate these historical influences carefully, ensuring that beauty ideals do not perpetuate biases but instead promote an individualized and ethical approach to facial aesthetics.

Art criticism arose from the contextual critique of biased art history of emphasis on biographies of charismatic artists rather than on the views of learned beholders during the High Renaissance art period (16th century) in Europe. There are still some subtle misnomers about the context of art criticism. This paper focuses on highlighting some essence in the history, methods of enquiry and relevant theories of art criticism; the objective of which is to examine the essence of art criticism. This study uses data collected from internet, library and other literary sources, lesson notes used in the author’s classes, inclusive. The study recommends that, for art criticism to succeed, it should not be an end in itself, but also a part of the creative process which is as creative as the actual production of the work of art. It is expected that the issues emergent in this work would spur further research impetus on the nature and meaning of art criticism

From October 2022 to July 2023 sculptor Rebecca Stevenson was an artist in residence at the Victoria and Albert Museum, London. Her residency was dedicated to the theme of ‘shifting perspectives’ and developed in connection with the V&A exhibition Donatello: Sculpting the Renaissance (11 February–11 June 2023). For this project, many sculptures by Donatello and his contemporaries left their permanent home in the V&A’s Medieval and Renaissance Galleries, first travelling to Florence and Berlin, and then returning to the V&A’s temporary exhibition space. As part of her residency, Stevenson was tasked with developing an artistic response to the absences created by these departures, and to conceptually and physically ‘shift perspectives’ in the gallery space. In conversation with Michaela Zöschg, Curator of Medieval Art and Design in the Decorative Art and Sculpture Department at the V&A, Stevenson reflects on the body of works that she developed during her time at the museum. Her pieces, which formally engage with Renaissance sculpture and expand on the themes of motherhood, death, grief and power central to Renaissance art, were shown in the Medieval and Renaissance Galleries’ ‘Donatello Room’ at various stages during their process of making, culminating in a display entitled In Transformation .

The author explored the continuum between 2 transformative concepts; metamorphosis and anamorphosis, and their relevance in plastic surgery, cosmetology, and body modification. Metamorphosis involves deep, structural change, evoking profound and often irreversible transformations, akin to those in Ovid’s Metamorphoses. Anamorphosis is rooted in Renaissance art and involves surface-level, perceptual shifts dependent on the viewer’s angle, as seen in optical illusions like Hans Holbein’s The Ambassadors. Together, these concepts form a spectrum of transformation that impacts both physical appearance and psychological perception. The author examined how these processes intersect in modern aesthetic and reconstructive procedures. Reconstructive surgeries, such as facial bone fracture repair, exemplify metamorphosis by producing lasting anatomic changes that impact appearance, identity, and function. Conversely, noninvasive cosmetic procedures—Botox, fillers, and contouring—operate within a border zone, initially creating temporary anamorphic effects but sometimes yielding long-term tissue changes with repeated use. The discussion extends beyond physical outcomes, addressing psychological, philosophical, and ethical dimensions. Although some patients seek metamorphic transformations to align their outer appearance with their inner self-image, others pursue anamorphic enhancements to create confidence-boosting illusions. The continuum raises critical questions about beauty, identity, and the nature of change, underscoring the importance of managing patient expectations, addressing underlying motivations, and ensuring informed consent. Ultimately, this paper reflects on the surgeon’s role as a guide in helping patients navigate the fine line between surface illusion and profound transformation, emphasizing a holistic, ethical approach to aesthetic and reconstructive care. By integrating both perspectives, surgeons can better support patients in achieving meaningful, satisfying outcomes.

This study mainly discusses the influence of Hermeticism on Renaissance art through Italian humanism, showcasing the emergence and major focus of Hermetism, the inheritance and dissemination of Hermeticism by humanists, and the embodiment of their ideas in Renaissance art. This study used the documentary analysis method as the research method in order to analyze information from different sources, such as the explanation of the ideological origin of hermeticism and its influences, which helps the reader to get acquainted with Hermeticism and its relation to the Renaissance in a more objective and multifaceted way. Additionally, the study delved into the symbolism and iconography present in Renaissance art that can be traced back to Hermetic principles, providing a deeper understanding of the spiritual and philosophical underpinnings of these works. By examining the intersection of Hermeticism, Italian humanism, and Renaissance art, this research sheds light on the interconnectedness of these movements and their lasting impact on cultural and artistic development.

Jonathan K. Nelson and Richard J. Zeckhauser: Risks in renaissance art: production, purchase, and reception

The purpose of the article is to analyse architectural motifs in Italian Renaissance paintings in the context of prerequisites for forming a cultural heritage protection system. The methodology is based on the application of such scientific research methods as historical (analysis of artworks in the context of historical epoch); analytical (plot line identification); comparative. The scientific novelty of the article lies in the fact that for the first time, ancient architecture in Italian Renaissance painting is analysed as one of the factors in the emergence and development of cultural heritage protection, the path to which led from monuments losing their status and original purpose, decline, to renewed interest in the architectural heritage of various historical epochs. Conclusions. The examined creative works of Italian artists allowed proposing a new view on ancient Roman architectural objects in artists’ activities. It is noted that such artistic practice was not only a tool for visualising the symbolic-allegorical system widespread during the Renaissance but also documented ancient tradition through painting, thereby forming contemporary interest and respect for previous epochs. This tendency developed the practice of preservation and study of heritage further. The apex came in the 19th century when European countries systematically began forming monument protection and museum affairs, archaeological field, and in the 20th century – a system of cultural heritage protection regulated by national legislation and international conventions was created. The available materials supported the following conviction: the Renaissance artists’ interest in cultural heritage objects is one of the stages in forming practices for protecting humanity’s material and spiritual achievements. This stage relates to various historical localities where interest in objects of the past coexisted with the destruction or partial demolition of these objects. In the 19th century, monument protection and museum work, and the archaeological field began to be built at public and state levels, and in the 20th century, it had already become a cultural heritage protection system regulated by national and international legal frameworks.

Although it is generally acknowledged that homosexuality experienced renewed popularity as a topic of artistic investigation during the Italian Renaissance, the prevalence and purport of homoeroticism in the works of the era’s male artists have been subjects of greater speculation. This paper focuses specifically on representations of the Greek mythological figure Ganymede, whose tradition as an icon for homosexual desire can be traced back to antiquity. In my analysis of the Ganymedean iconography used by artists like Donatello and Michelangelo, I exemplify how homoerotic subtext reveals itself in Renaissance art through mythological imagery. To ground my visual analyses within the artworks’ historical context, I also refer to classical and Renaissance literature to identify contemporary ideas about love between men, which were shaped by the rise of Neoplatonism and its glorification of Greek pederasty. Identifying the homoeroticism in Renaissance illustrations of the Zeus and Ganymede myth thus upholds the latter’s status as an iconic figure in the history of queer art. More importantly, however, this paper’s analysis demonstrates that Ganymede’s iconographic function was ultimately to visually reinforce the resurrected Florentine version of pederasty and the troubling power imbalance of its lover-beloved relationship model.

The wedding of Matthias Corvinus, king of Hungary and Bohemia, and Beatrice of Aragon in 1476 marked a high point of diplomatic relations between Central Europe and Italy, which strengthened an already strong interest of King Matthias in Italian matters. Although the highly educated Aragon princess has traditionally been viewed as a prominent intermediary of foreign influences in Hungary, most notably for bringing Renaissance art and Italian culture, her role in diplomacy is still not fully appreciated. By a close reading of the relations of papal legate Angelo Pecchinoli (1488–1490) and other sources, this paper examines the important role of Queen Beatrice in foreign relations. Given her familial connections and gender, Beatrice heavily complemented her husband’s goals and efforts, adding a feminine component to the rulership. Using a whole set of tools, such as gifts, affective performance, or correspondence, she was able to act as a proper diplomatic agent.

The subject of the study is how the Russian artist Pavel Pokidyshev expresses and reconstructs an idealized social scene through his unique painting language. The article examines the following aspects in detail: the formation and expression of the painting language, the concept of time in the works (linear and interwoven time), the synthesis of visual elements from different cultures, and the mechanisms of constructing and conveying utopian ideals through visual art. Special attention is given to how Pavel Pokidyshev constructs the language of painting when transitioning from late Medieval art to early Renaissance art. The recreation and imagination of the "ideal society" in his works, the confrontation and merging of cultures from different historical periods, and how this reflects the concept of "linear interweaving of time." The concept of "linear interweaving of time" as a way to combine the mystical religious art of the Middle Ages, the knightly spirit, and the humanism of the Renaissance to recreate a utopian world, peaceful, harmonious, and free of contradictions. This work employs the method of systematization, the method of abstraction, and the method of literature analysis, combined with a metaphysical methodology of research. The main conclusion of the conducted research is that in the work of Pavel Pokidyshev, the styles of late Medieval and early Renaissance art merge, creating an art form that transcends generations. The author's special contribution is the visual overcoming of the boundary between reality and fantasy in his works, successfully combining reason and sensibility, tradition and innovation, mystery and humanism. His female figures, as spiritual symbols, embody individuality and the freedom of humanist thought of the Renaissance. At the same time, Pokidyshev dismantles the concept of linear time and constructs an idealized utopian world using complex historical elements and narratives in which space and time intertwine. The novelty of the study lies in the fact that Pokidyshev's art transcends the boundaries of time and history through a subtle language that returns to the values of human culture and thought and explores the relationships between reason and individual freedom. Evoking nostalgia for medieval mysticism while reflecting the intellectual liberation of the early Renaissance, his works form a unique bridge between tradition and modernity, demonstrating a profound connection between history and time.