The Gnostic interpretation
For Gnostic Christians, Sophia was a central element in understanding the cosmological universe. A female figure, similar to the human soul but at the same time one of the female aspect of God and, simultaneously, the Bride of Christ. They believed that it was somehow fallen out of favor, and so, in his despair, he had created or helped create the material world. For the Christian Gnostics, the drama of redemption through Christ Sophia or the Logos is the central drama of the universe: Sophia resides in all of us in the form of Divine Spark, and Christ was sent to earth to free her and bring her to the presence of the First Father, the unknowable God.
anxiety and fear of Sophia losing their lives (just as he lost the light of the One), caused the confusion and longing to return to him. Because of this desire, the subject (greek: hyle) and soul (greek: psyke) had accidentally existence through the four elements: fire, water, earth and air. The creation of the Demiurge from the lion's head was an error committed during this exile. According to some Gnostic sources, it was the product of Sophia, who tried to lay alone without her male counterpart. The Demiurge proceeded, then, in the creation of the physical world in which we live, ignorant of Sophia, which, however, managed to infuse some spiritual spark or pneuma in the creation of the Demiurge.
After these events, the Redeemer (Christ) came back and allowed her to see the light again, bringing it to the attention of the spirit. Christ was then sent to earth in the form of man, Jesus, to give men the gnosis that they needed to break free from the material world and return to the spiritual world. Note that, in Gnosticism, the Gospel story of Jesus is itself allegorical: he is living in a historical context, but the Mystery Inside used as an introduction to gnosis. (From Wikipedia)
The interpretation of Leonardo Leonardo
Even with Botticelli, participates actively in the debate launched by the philosopher Marsilio Ficino on 'origin of Sophia, by which it was intended describe the full knowledge of the processes of the soul fall in the world of matter and his subsequent desire to go back into the light of God's soul conocenza it opens the doors of Philosophy and allows the artist to understand the defects and virtues of human nature and its transcendent potential.
Leonardo summarizes studies of the soul from observation. The salient feature of the human soul is to be active, with quality and different ways in the three worlds: the world of matter, the world of feelings and the world of ideas. In each of these universes, streamlining regarded as separate from the intellect (the Demiurge), but in fact contiguous inner experience, the soul progresses through three levels of "Fire" awareness of reality, awareness of feelings of love and conflict, and knowledge of multiple truths that are part of the one spiritual reality: Sophia.
Leonardo's reflection is inspired by the works of Aristotle, who stresses the concept of soul as the source, the source and root of the three worlds of Being.
"Now for Aristotle's tripartite soul is revealed. It is first and foremost source of life that appears in terms of vegetation (a. birth, growth, biological dynamics), is a source of life that is expressed in sensory (b. movement, perceptions, feelings) and, finally, is the root of the intellectual and rational (c. knowledge, will, decision). It must, then, to speak of a vegetative soul, sensitive, intellectual. "
a) The vegetative soul (aqua vitae) is the source on which the subconscious triggers the psychic dimension of experiences shaped by pleroma instincts (survival, conservation, adaptation and implementation of the conditions of equilibrium). In the code-century art is represented by the figure of Eve, the symbol of awareness of the material dimension of existence.
b) The sensitive soul (Acetum fortis) identifies the creative source that feeds the action of the soul in the knowledge that evolves sensations (the nymph Chloris), emotions (Flora) and cognitive feelings (Venus Humanitas). Allegory of Spring Botticelli describes the three stages of evolution of the sensitive soul in Venus, symbol of consciousness (awareness, understanding, knowledge) of feelings of love and conflict.
c) the intellectual soul (lac virginis) supplies the spiritual root from which it can increase knowledge of the multiple levels of awareness generated by the source. The intellectual soul is the part of soul can know the unity of reality and to produce works of human consciousness (Jesus) and spiritual (Christ). In its higher phase, la stessa raggiunta da Beatrice nel tredicesimo cielo, l'anima intellettiva racchiude dentro di Sè la luce di Sophìa, ovvero la scintilla divina capace di risvegliare l'anima vegetativa dal fondo buio e irrazionale in cui incessantemente precipita. Non esisteva fino a Leonardo una immagine artistica di Sophìa che fosse sintesi delle tre fonti dell'esperienza (Sat/ariete) , della coscienza (Chit/leone) e della beatitudine della conoscenza (ananda/sagittario).
L'immagine in alto la colloca all'interno della chioma dell'albero dei filosofi a significare l'estensione dei collegamenti neurobiologici che l'anima illuminata dal "Redentore" realizza all'interno del cervello. Esistono quindi tre gradi transformation of the soul in action that result in the ability of Aries (the instinctual self), in the Lion's creativity in action (the creative self) and knowledge in action of Sagittarius (the cognitive self). This means that all three of the souls involved in the body of philosophical knowledge to the implementation of the One Reality and Truth of the many.
probably influenced by alchemical treatises moving more and more towards the end of Quattriocento, Leonardo realized the living image of Sophia: the Mona Lisa.
Mona Lisa in his body synthesizes the processes of transformation of the vegetative soul, soul sensitiva e infine nell'anima intellettiva, mentre il suo volto esprime la parte passiva dell'intelletto dell'anima (il Nous), chiamata in greco "Patetica". Coltivando il silenzio interiore (Monna Lisa è sordomuta, mentre nello stesso anno Raffaello dipinge la Muta), l'anima intellettiva percepisce il mondo esterno come un riflesso di quello interiore.
Aristotele afferma che la parte passiva del Nous è come una tavoletta di cera sulla quale si incidono i segni della stilo, ed è il cuore (il sè principiale ) a trasmettere dati, sensazioni, ricordi, emozioni, sentimenti ed esperienze.
Il collegamento tra il "cervello e il cuore" avviene nell'attività passiva di introspezione, proiezione, Meditation and visualization of images, which takes place in a phenomenon of "feedback" of everything that has been studied, seen and experienced in life.
The artist, immersing himself deeply in the work (the drip tombstone), he created a unified synthesis of reality "subjective and objective," which is in itself an act of knowledge. This act is unique, compelling and can only describe a step in the path of revelation of truth which it bears the soul alchemy.
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