The Materialization of Robert Fludd's Alchemical and Theosophical Concepts: A Case Study in the History of Science on the Interaction between Author, Artisans, Artists, and Publishers

罗伯特·弗拉德的炼金术和神智概念的物化：科学史上关于作者、工匠、艺术家和出版商之间互动的案例研究

• 批准号: 508112724
• 负责人: Privatdozentin Dr. Ute Frietsch
• 金额: --
• 依托单位: Herzog August Bibliothek Wolfenbüttel
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/508112724?language=en
• 关键词: Materialization; Robert; Fludd; Alchemical; Theosophical

Fludd's books are distinguished by their spectacular images and luxurious size, which were produced by Matthäus Merian the Elder and Johann Theodor de Bry on his behalf. The relevance of images and artefacts – e.g. alchemical instruments, automates, and books – for Fludd's natural history and natural philosophy can be explained against the backdrop of “artisanal epistemology” (Pamela Smith), that is, the special relevance of crafts for alchemical scholarship around 1600. The analysis of the practical materialization of Fludd's visual ideas and artefacts is a desideratum of research, since the analysis has focused primarily on their philosophical relevance and little on the process of their production. This project will focus on the production of images and artefacts which was concomitant with Fludd's main work “Utriusque cosmi historia”. To this end, the project will analyze Fludd's communication with his artists and artisans – i.e. his etchers and copperplate engravers, his writing assistants, laboratory helpers, drawing assistants (amanuenses), and publishers. The project's questions will be answered through the autoptical research of source-texts, such as the fortunately surviving Ms. lat. qu. 15, “De technica microcosmi historia” at Frankfurter Stadt- und Universitätsbibliothek, which demonstrates concrete processes of negotiation between author and publisher and has been almost entirely overlooked by prior research, and better-known manuscripts and autographs at Bodleian Library (Oxford), British Library (London), Trinity College (Cambridge), Uppsala University, and Stadtbibliothek Lübeck.The close interlinking of text and image and the process of terminologically lettering images demonstrate that Fludd was not only vividly expressing his visual ideas in texts, but was also actively participating in materializing them, for example through pen drawings, which were used by Merian as models for his etchings and copperplate engravings. Fludd's adversaries, such as Kepler, treated these images as scholarly assertions which Fludd was obliged to defend in ensuing controversies. These adversaries, however, did not comprehend the relationship between Fludd's diagrams and the (e.g. astronomical) bodies they ostensibly depicted, which was why they attacked his method of argumentation. Therefore, the project will also reconstruct the relationship between Fludd's images and his instruments, such as the monochord, the Vitrum Calendarium, and his automates by their concrete as well as epistemic dimensions of production.

弗拉德的书籍以其壮观的图像和豪华的尺寸而闻名，这些书籍由Matthäus Merian the Elder和Johann Theodor de Bry代表他制作。图像和人工制品的相关性-例如炼金术仪器，自动机和书籍-对于Fludd的自然历史和自然哲学可以在“手工知识论”（Pamela Smith）的背景下解释，即1600年左右炼金术奖学金的特殊相关性。对Fludd的视觉思想和人工制品的实际物化的分析是研究的一个必要条件，因为分析主要集中在它们的哲学相关性上，而很少关注它们的生产过程。该项目将专注于与Fludd的主要作品“Utriusque cosmi historia”一起制作的图像和文物。为此，该项目将分析Fludd与他的艺术家和工匠的交流-即他的蚀刻工和铜版雕刻师，他的写作助手，实验室助手，绘图助手（amanuenses）和出版商。该项目的问题将通过对源文本的自动光学研究来回答，例如幸运地幸存下来的拉特女士。屈15，“De technica microcosmi historia”在法兰克福施塔特- und Universitätsbibliothek，这表明作者和出版商之间的谈判的具体过程，几乎完全被先前的研究所忽视，以及在博德利图书馆（牛津），大英图书馆（伦敦），Trinity学院更知名的手稿和亲笔签名（剑桥）、乌普萨拉大学和吕贝克市立图书馆。文本和图像的紧密联系以及术语上给图像刻字的过程表明，弗拉德不仅在文本中生动地表达了他的视觉思想，但他也积极参与将它们具体化，例如通过钢笔画，梅里安将其用作蚀刻和铜版画的模型。弗拉德的对手，如开普勒，对待这些图像作为学术主张弗拉德不得不捍卫在随后的争议。然而，这些对手并不理解Fludd的图表和它们表面上描绘的（例如天文学）物体之间的关系，这就是为什么他们攻击他的论证方法。因此，该项目还将重建Fludd的图像和他的乐器之间的关系，例如单弦琴，Vitrum Calendarium和他的自动机，通过它们的具体和生产的认识维度。