Jure Vuga
Jure Vuga, born on 11th November 1983 in Koper holds a Ph.D. in Art history. For his bachelor thesis on Botticelly Primavera he received the highest award granted by the University of Ljubljana, the Prešeren prize for students in 2010. In 2016 he successfully defended his Ph.D. thesis about The influence of Hypnerotomachia Poliphili on Giorgione's Tempest. In the scholastic year 2006/07 he attended courses of art history at the University of Florence. In 2008 he spent three months in Rome and a month in Venice to continue his studies. In 2009 he spent three weeks at the Warburg Institute in London. In 2010 he was a recipient of a scholarship granted by the Italian government and perfected his knowledge frequenting The Harvard Centre for Italian Renaissance Studies at Villa I Tatti, the Kunsthistorisches Institut and the Istituto Nazionale di Studi sul Rinascimento in Florence. In 2019 he received an award for the best Slovenian essay, discussing about metaphorical thinking in scientific, philosophical and literary endeavour. His poetry books were published in 2009, 2015 and 2023 by major Slovenian publishing houses.
Phone: +38631788661
Address: Kvedrova 16, 6000 Koper, SI-SLOVENIA
Phone: +38631788661
Address: Kvedrova 16, 6000 Koper, SI-SLOVENIA
less
InterestsView All (8)
Uploads
Papers by Jure Vuga
conteso coincide con la concezione della trasmigrazione dell’anima. In sintonia con la tradizione neoplatonica che
include anche l’interpretazione allegorica delle scene mitologiche, le fi gure sono concepite come una presentazione metaforica delle peripezie dell’anima. In questo modo e stato possibile chiarire la presenza di alcuni elementi
iconografi ci altrimenti diffi cilmente spiegabili come per esempio: il simbolismo della luna sul ciondolo di Venere, la
spada di Mercurio e il suo atteggiamento »assente«, le fi ammelle calanti sui loro vestiti, la funzione della nuvola e le
connotazioni di alcune piante, connesse al motivo della passione di Cristo (anemone, aquilegia, garofano, fragola,
iris) e della morte (ranuncolo e narciso).
cults and the allegoric interpretation of ancient myths. By the Renaissance philosophers the myths were perceived as
metaphors with gnoseologic value, which can reveal the higher reality to the soul and awake the insight in the mysteries of »prisca theologia«. It is therefore possible to read the composition as a sacred allegory with an eschatologic
and soteriologic meaning.
Zephyrus represents the generative spirit, cosmic soul or Anima Mundi, which brings the soul (Chloris) into being. Another plausible explanation is that Zephyrus, the spirit, infuses life (the individual soul) into a material body
(Chloris). Consequently fl owers burst from her mouth. The fecundating breath (pneuma) is the symbolic equivalent
of the incarnation of Logos. The embodied soul manifests itself as Flora, which sows fl owers around her, an allusion
to the noble deeds, refl ecting her virtues.
Eros arrow infl ames the soul with love and furor, the divine frenzy, which incites the soul to seek the source of
metaphysical beauty. The Graces personifi es the cyclic process of purifi cation of the soul and her advancement in
consciousness from the love of physical bodies Voluptas and the care for the external beauty Pulchritudo towards the
awakening of a modest soul, the personifi cation of virtue, Castitas.
Mercury is dispersing the clouds, the veils that protect the celestial mysteries in which the ineffable God is
shrouded. He is showing the path that the soul will have to endure by itself – this is why he is turned away (similarly
to the representation of Agostino di Duccio in the Tempio Malatestiano, Mercury is a detached deity, superior to
the human soul). The sword gives him a connotation of a severe arbiter which allows the passage to the celestial
realm only to a righteous soul (the theme of the judgement of the soul is present in the last frame of the Poggio a
Caiano terracotta frieze). Venus resembles an ancient statue of Aphrodite from Afrodisia, a variation of the Great
Mother, who embodies the bounty of the cosmic Nature. Marked with a crescent moon on her chest, she represents
the patroness of souls on their journey into the physical realm and back to the sky. The branches of the myrtle bush
grow from the earth in proximity of her feat, which provides a parallel with the theme of the three of life. Venus is the
representation »all antica« of Marsilio Ficino’s God-Love, identical with the notion of agápē, which enables the union
of the soul with God. Primavera is the only renaissance allegory in which the succession of figures is read from right
to left in accordance with the daily progression of the Sun from east to west and bears therefore the characteristic
of an initiation into a mystery cult.
Assumption in Koper, and sheds light on new findings in favour of this thesis. The existence of the ciborium has
already been advocated by Antonio Alisi (1932) and Wolfgang Wolters (1976). In recent years scholars assumed
that fragments of the arches, kept by the Koper Regional Museum, were rather part of another monument. By
analysing material remains and relying on archival sources published by Helena Seražin in 2007, we contributed
extensive argumentation, which, by rejecting other theories, wishes to testify the existence of the Venetian–type
ciborium in the medieval Koper cathedral. The idea that a gilded gothic stone canopy stood over the main altar of
the Cathedral of Koper is foreign to the majority of professional and lay public, therefore we offered a conceptual
graphic reconstruction of the monument on the basis of comparisons with the ciborium in Poreč and Zadar.
conteso coincide con la concezione della trasmigrazione dell’anima. In sintonia con la tradizione neoplatonica che
include anche l’interpretazione allegorica delle scene mitologiche, le fi gure sono concepite come una presentazione metaforica delle peripezie dell’anima. In questo modo e stato possibile chiarire la presenza di alcuni elementi
iconografi ci altrimenti diffi cilmente spiegabili come per esempio: il simbolismo della luna sul ciondolo di Venere, la
spada di Mercurio e il suo atteggiamento »assente«, le fi ammelle calanti sui loro vestiti, la funzione della nuvola e le
connotazioni di alcune piante, connesse al motivo della passione di Cristo (anemone, aquilegia, garofano, fragola,
iris) e della morte (ranuncolo e narciso).
cults and the allegoric interpretation of ancient myths. By the Renaissance philosophers the myths were perceived as
metaphors with gnoseologic value, which can reveal the higher reality to the soul and awake the insight in the mysteries of »prisca theologia«. It is therefore possible to read the composition as a sacred allegory with an eschatologic
and soteriologic meaning.
Zephyrus represents the generative spirit, cosmic soul or Anima Mundi, which brings the soul (Chloris) into being. Another plausible explanation is that Zephyrus, the spirit, infuses life (the individual soul) into a material body
(Chloris). Consequently fl owers burst from her mouth. The fecundating breath (pneuma) is the symbolic equivalent
of the incarnation of Logos. The embodied soul manifests itself as Flora, which sows fl owers around her, an allusion
to the noble deeds, refl ecting her virtues.
Eros arrow infl ames the soul with love and furor, the divine frenzy, which incites the soul to seek the source of
metaphysical beauty. The Graces personifi es the cyclic process of purifi cation of the soul and her advancement in
consciousness from the love of physical bodies Voluptas and the care for the external beauty Pulchritudo towards the
awakening of a modest soul, the personifi cation of virtue, Castitas.
Mercury is dispersing the clouds, the veils that protect the celestial mysteries in which the ineffable God is
shrouded. He is showing the path that the soul will have to endure by itself – this is why he is turned away (similarly
to the representation of Agostino di Duccio in the Tempio Malatestiano, Mercury is a detached deity, superior to
the human soul). The sword gives him a connotation of a severe arbiter which allows the passage to the celestial
realm only to a righteous soul (the theme of the judgement of the soul is present in the last frame of the Poggio a
Caiano terracotta frieze). Venus resembles an ancient statue of Aphrodite from Afrodisia, a variation of the Great
Mother, who embodies the bounty of the cosmic Nature. Marked with a crescent moon on her chest, she represents
the patroness of souls on their journey into the physical realm and back to the sky. The branches of the myrtle bush
grow from the earth in proximity of her feat, which provides a parallel with the theme of the three of life. Venus is the
representation »all antica« of Marsilio Ficino’s God-Love, identical with the notion of agápē, which enables the union
of the soul with God. Primavera is the only renaissance allegory in which the succession of figures is read from right
to left in accordance with the daily progression of the Sun from east to west and bears therefore the characteristic
of an initiation into a mystery cult.
Assumption in Koper, and sheds light on new findings in favour of this thesis. The existence of the ciborium has
already been advocated by Antonio Alisi (1932) and Wolfgang Wolters (1976). In recent years scholars assumed
that fragments of the arches, kept by the Koper Regional Museum, were rather part of another monument. By
analysing material remains and relying on archival sources published by Helena Seražin in 2007, we contributed
extensive argumentation, which, by rejecting other theories, wishes to testify the existence of the Venetian–type
ciborium in the medieval Koper cathedral. The idea that a gilded gothic stone canopy stood over the main altar of
the Cathedral of Koper is foreign to the majority of professional and lay public, therefore we offered a conceptual
graphic reconstruction of the monument on the basis of comparisons with the ciborium in Poreč and Zadar.