울리세 알드로반디(Ulisse Aldrovandi) 컬렉션의 원본과 자전(自傳): 컬렉터의 의도와 백과사전적 박물관에 끼친 문화적 영향
Originality and Autobiography of Ulisse Aldrovandi’s Collection: Collector’s Intention and Influence for the Encyclopedic Museum
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Ulisse Aldrovandi, one of the leading collectors and intellectuals of the Renaissance, played an important role in the progress and diffusion of knowledge in the cultural atmosphere between the late seventeenth and the early eighteenth century. He was also the protagonist who made the transition from the collection’s private dimension to the public, one of the highest enterprises on modernity. Aldrovandi’s idea came at a critical point of scientific thought and influenced the fantasy and illusion of the Baroque visual culture. Although it was maintained after his death by the terms of his will, relatively little remained of Aldrovandi’s collection by the nineteenth century. Nonetheless, it is important material for the study of the cultural paradigm shift in Early Modern Europe. In this testament, at 1603, Aldrovandi tends to avoid dispersion and encourages any possible interference among the elements of the system creating the museographic disposition of the encyclopedic syntaxes. In this manner, the Renaissance notion of museum defined imaginary space that codifies the intellectual experience of the self-proclaimed collector became the explicit identification of a museum with encyclopedic paradigms. For Aldrovandi, the encyclopedia was located neither in the text nor in the objects; instead, it was the dialectic between the educational models and the text of the research that defined the universality of this project.
Abstract
Ulisse Aldrovandi, one of the leading collectors and intellectuals of the Renaissance, played an important role in the progress and diffusion of knowledge in the cultural atmosphere between the late seventeenth and the early eighteenth century. He was also the protagonist who made the transition from the collection’s private dimension to the public, one of the highest enterprises on modernity. Aldrovandi’s idea came at a critical point of scientific thought and influenced the fantasy and illusion of the Baroque visual culture. Although it was maintained after his death by the terms of his will, relatively little remained of Aldrovandi’s collection by the nineteenth century. Nonetheless, it is important material for the study of the cultural paradigm shift in Early Modern Europe. In this testament, at 1603, Aldrovandi tends to avoid dispersion and encourages any possible interference among the elements of the system creating the museographic disposition of the encyclopedic syntaxes. In this manner, the Renaissance notion of museum defined imaginary space that codifies the intellectual experience of the self-proclaimed collector became the explicit identification of a museum with encyclopedic paradigms. For Aldrovandi, the encyclopedia was located neither in the text nor in the objects; instead, it was the dialectic between the educational models and the text of the research that defined the universality of this project.
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