The artistic material of the Renaissance era and the methodological approaches developed in the research, as well as the results obtained, allow us to supplement the understanding of the Renaissance culture specifics, uniting architecture, painting, sculpture, theater and science into a single philosophical and anthropological idea. The separate sections of the article (“Matters of scientific perspective”, “Studies of plastic anatomy”, “Emergence of new constructive systems”, “Inventions of new fine arts techniques”) cover the aspects and exact embodiment of the scientific approach as it forms an ideal system of an artist’s mindset. The Renaissance era perceives art as one of the most powerful means of cognition and as such is equated with science. The matters of integration of science and art in the study of Renaissance artistic culture are of particular interest to students of higher education institutions, not only of art history and culture majors but in related fields as well. However, the problems of interaction between art and science are not always given due attention in the modern system of study of topics dedicated to this era. They are regarded as incidental, not special information, in many ways, one helping to understand the peculiarities of the creative quest of the era, to embody the substance of Renaissance thought. The synergetic approach presented an opportunity for a different look at the ratio of scientific and artistic creativity of Renaissance figures, revealing their common and special features. All the analyzed factors allow us to assert that it was the synergy of science and art of the Renaissance era that gave rise to a special analytical type of creativity, requiring the appropriate metaphoric links.
Key words: Renaissance, science and art, integration, research methodology, synergetic approach, artometry
For Reference: Portnova, T. V. (2019). Integration of science and art in the study of Renaissance art culture. Perspektivy nauki i obrazovania – Perspectives of Science and Education, 41 (5), 63-74. doi: 10.32744/pse.2019.5.5
Information about the author:
Tatiana V. Portnova (Russia, Moscow) - Doctor of Arts, Professor of Slavic Culture Institute. Choreography Art department. Institute of Arts, Art History Department. The Kosygin State University of Russia. E-mail: email@example.com. ORCID ID: 0000-0002-4221-3923