Abstract

This article analyses the original core of the ‘Art’ of Ramon Llull, which, according to the author, was the result of a vision on Mount Randa. We start from the paradoxical fact that Llull describes his Art as a result of an immediate revelation, but throughout his life constantly reworked the artistic structure, in both formal and procedural aspects. We thus take a hermeneutical approach to the ontology, logic and symbolism of Llull’s Art to define as precisely as possible what remained constant through the changes. We conclude that the so-called ‘illumination of Randa’ was actually a mystical vision of the cosmos and its internal relations, but not the argumentative process of the Art, which Llull clarified over the course of his life.