La pormenorizada descripción de una pintura prohibida por el Santo Oficio acusada de incurrir en herejía luterana recogida en un acuerdo del Consejo de la Inquisición española en 1571 ha permitido identificar su representación a través de un grabado de Harmen Jansz. Muller (h. 1538-1617) titulado El rico y el pobre ante un crucifijo. A partir de ello, el presente artículo estudia tanto la imagen de la pintura censurada gracias al documento inquisitorial como la estampa localizada, transcribiendo sus inscripciones y analizando su iconografía. Asimismo, se indaga en el origen de la obra contextualizándola en la producción de grabados de los Países Bajos y en su tensa relación con la España de Felipe II dominada por la lucha contra el protestantismo. Por último, se plantean las razones que pudieron llevar a los inquisidores a expurgar esta imagen.
{"title":"Inquisición vs. arte: identificación de una imagen no tolerada por el Santo Oficio español en el siglo XVI","authors":"Rebeca Carretero Calvo","doi":"10.5209/eiko.83556","DOIUrl":"https://doi.org/10.5209/eiko.83556","url":null,"abstract":"La pormenorizada descripción de una pintura prohibida por el Santo Oficio acusada de incurrir en herejía luterana recogida en un acuerdo del Consejo de la Inquisición española en 1571 ha permitido identificar su representación a través de un grabado de Harmen Jansz. Muller (h. 1538-1617) titulado El rico y el pobre ante un crucifijo. A partir de ello, el presente artículo estudia tanto la imagen de la pintura censurada gracias al documento inquisitorial como la estampa localizada, transcribiendo sus inscripciones y analizando su iconografía. Asimismo, se indaga en el origen de la obra contextualizándola en la producción de grabados de los Países Bajos y en su tensa relación con la España de Felipe II dominada por la lucha contra el protestantismo. Por último, se plantean las razones que pudieron llevar a los inquisidores a expurgar esta imagen.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81433754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Neils, Jenifer, y Olga Palagia, eds. From Kallias to Kritias. Art in Athens in the Second Half of the Fifth Century B.C. Berlin: De Gruyter, 2022 [ISBN 978-3-11-068092-8]","authors":"Javier Simón Cuesta","doi":"10.5209/eiko.84019","DOIUrl":"https://doi.org/10.5209/eiko.84019","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"15 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82902294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Skovmøller, Amalie. Facing the Colours of Roman Portraiture. Berlín: De Gruyter, 2020 [ISBN: 978-3-11-056366-5]","authors":"Miguel Lahuerta Berazaluce","doi":"10.5209/eiko.80902","DOIUrl":"https://doi.org/10.5209/eiko.80902","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"53 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90754502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Este texto aborda el tema artístico de la mujer como encarnación de la muerte a través del motivo del cadáver femenino en la película La autopsia de Jane Doe (The Autopsy of Jane Doe, André Øvredal, 2016). La construcción del personaje de la mujer muerta se apoya en el estereotipo de la mujer fatal, entroncando con iconografías misóginas que demonizan la sexualidad femenina mediante el vínculo entre maldad y carnalidad. En el análisis iconográfico se analizan críticamente desde un enfoque feminista productos culturales que encuentran su razón de ser en una condición generizada de la maldad, tomando conciencia de la ideología que los impregna. La belleza es concebida como trampa o artificio, relacionando el cuerpo femenino con la tentación, el peligro, la muerte y la corrupción. Bajo la cobertura de una narración fantástica, se actualizan viejos clichés moralistas que reposan sobre definiciones estéticas de la belleza/fealdad cargadas de implicaciones patriarcales.
这个女人作为艺术处理这个问题的案文体现女性死亡通过尸体的原因在这部电影验尸Jane Doe (The Autopsy of andre Jane DoeØvredal, 2016)。死去的女人的角色构建依赖于对致命女人的刻板印象，与通过邪恶和肉欲之间的联系妖魔化女性性行为的厌女肖像交织在一起。在图像分析中，女性主义的方法对文化产品进行了批判性的分析，这些文化产品在一种普遍的邪恶状态下找到了存在的理由，意识到渗透在它们中的意识形态。美被认为是一种陷阱或诡计，将女性的身体与诱惑、危险、死亡和腐败联系起来。在奇幻叙事的掩护下，旧的道德cliches被更新，这些cliches依赖于美/丑的美学定义，充满了父权的含义。
{"title":"Mujer (fatal), carnalidad y muerte: tratamiento iconográfico del cadáver femenino en La autopsia de Jane Doe (2016)","authors":"M.ª Dolores Clemente Fernández","doi":"10.5209/eiko.84095","DOIUrl":"https://doi.org/10.5209/eiko.84095","url":null,"abstract":"Este texto aborda el tema artístico de la mujer como encarnación de la muerte a través del motivo del cadáver femenino en la película La autopsia de Jane Doe (The Autopsy of Jane Doe, André Øvredal, 2016). La construcción del personaje de la mujer muerta se apoya en el estereotipo de la mujer fatal, entroncando con iconografías misóginas que demonizan la sexualidad femenina mediante el vínculo entre maldad y carnalidad. En el análisis iconográfico se analizan críticamente desde un enfoque feminista productos culturales que encuentran su razón de ser en una condición generizada de la maldad, tomando conciencia de la ideología que los impregna. La belleza es concebida como trampa o artificio, relacionando el cuerpo femenino con la tentación, el peligro, la muerte y la corrupción. Bajo la cobertura de una narración fantástica, se actualizan viejos clichés moralistas que reposan sobre definiciones estéticas de la belleza/fealdad cargadas de implicaciones patriarcales.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"69 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90167705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Editorial introduction to “Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th)”. The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies.
{"title":"Imago, ius, religio. Religious Images in Medieval Legal Manuscripts: An Overview","authors":"Maria Alessandra Bilotta, Gianluca Del Monaco","doi":"10.5209/eiko.85807","DOIUrl":"https://doi.org/10.5209/eiko.85807","url":null,"abstract":" Editorial introduction to “Imago, ius, religio. Religious Iconographies in Illustrated Legal Manuscripts and Printed Books (9th-20th)”. The aim of this monographic issue is to analyse the use of religious iconographies in legal manuscripts and printed books, to create a basis for discussion and exchange on the diverse artistic, historical, and social aspects of these iconographies.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"266 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76776067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El arte de Amarna presenta unas características y particularidades inéditas en la cultura egipcia. La reina Nefertiti desempeña un papel fundamental en la iconografía amarniense. Ninguna otra reina aparece representada con tanta frecuencia y es apreciable cómo su figura evoluciona a lo largo del reinado de Akhenaton, hasta romper ciertos cánones históricamente establecidos para la realeza egipcia. Uno de los atributos de la realeza más significativo y emblemático es la corona, ornamento de dioses y reyes. La revisión de la iconografía, siguiendo una línea temporal y el análisis de las distintas coronas que porta la reina a lo largo del periodo de Amarna, constituyen un indicador de la importancia que va adquiriendo el personaje, así como una línea de investigación para tratar de determinar el poder que ostenta en cada uno de esos momentos.
{"title":"Iconos del arte egipcio: coronas y tocados de la realeza femenina en la iconografía de Amarna","authors":"Belén Del Barrio Madruga","doi":"10.5209/eiko.81750","DOIUrl":"https://doi.org/10.5209/eiko.81750","url":null,"abstract":"El arte de Amarna presenta unas características y particularidades inéditas en la cultura egipcia. La reina Nefertiti desempeña un papel fundamental en la iconografía amarniense. Ninguna otra reina aparece representada con tanta frecuencia y es apreciable cómo su figura evoluciona a lo largo del reinado de Akhenaton, hasta romper ciertos cánones históricamente establecidos para la realeza egipcia. \u0000Uno de los atributos de la realeza más significativo y emblemático es la corona, ornamento de dioses y reyes. La revisión de la iconografía, siguiendo una línea temporal y el análisis de las distintas coronas que porta la reina a lo largo del periodo de Amarna, constituyen un indicador de la importancia que va adquiriendo el personaje, así como una línea de investigación para tratar de determinar el poder que ostenta en cada uno de esos momentos. ","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91113672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.
{"title":"‘Emptiness’ and ‘Nothingness’ as Key Elements to Conveying and Understanding Meaning in Japanese Calligraphy","authors":"Ioana-Ciliana Tudorică","doi":"10.5209/eiko.81715","DOIUrl":"https://doi.org/10.5209/eiko.81715","url":null,"abstract":"The article analyses one of Japanese calligraphy’s (shodō 書道) particularities: the notion of “emptiness”, “nothingness”. This concept can be observed in different layers of the art: from the white of the paper, to the movement of the brush after it has been lifted from the paper to the interpretative process. In this way, there are instances of “emptiness” during several stages of creation and understanding of a calligraphic work. In order to illustrate this, our article will analyse two shodō 書道 works, pinpointing the use of “emptiness”, or “nothingness”, and the effect they create for the calligraphic work as a whole. We conclude that in order to grasp the transcendent meaning, one must take into account all elements present within a calligraphic work, including the instances of “emptiness”.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73607605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reseña de la obra de Argelich, María Antonia. La erudición del pintor. Juan Interián de Ayala y los nuevos propósitos de la imagen religiosa en el Siglo de las Luces. Lleida: Servei de Publicacions de la Universitat de Lleida, 2021 [ISBN: 978-84-91442-70-7]
{"title":"Argelich, María Antonia. La erudición del pintor. Juan Interián de Ayala y los nuevos propósitos de la imagen religiosa en el Siglo de las Luces. Lleida: Servei de Publicacions de la Universitat de Lleida, 2021 [ISBN: 978-84-91442-70-7]","authors":"Borja Franco Llopis","doi":"10.5209/eiko.77620","DOIUrl":"https://doi.org/10.5209/eiko.77620","url":null,"abstract":"Reseña de la obra de Argelich, María Antonia. La erudición del pintor. Juan Interián de Ayala y los nuevos propósitos de la imagen religiosa en el Siglo de las Luces. Lleida: Servei de Publicacions de la Universitat de Lleida, 2021 [ISBN: 978-84-91442-70-7]","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"103 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75310189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reseña de la obra de Muñoz Cosme, Alfonso. La intervención en el patrimonio arquitectónico en España. 1975-2015. Murcia: Universidad de Murcia, 2020, 220 pp. [ISBN 978-84-1786-548-1-8]
{"title":"Muñoz Cosme, Alfonso. La intervención en el patrimonio arquitectónico en España. 1975-2015. Murcia: Universidad de Murcia, 2020 [ISBN: 978-84-1786-548-1-8]","authors":"Alba Lérida Jiménez","doi":"10.5209/eiko.76657","DOIUrl":"https://doi.org/10.5209/eiko.76657","url":null,"abstract":"Reseña de la obra de Muñoz Cosme, Alfonso. La intervención en el patrimonio arquitectónico en España. 1975-2015. Murcia: Universidad de Murcia, 2020, 220 pp. [ISBN 978-84-1786-548-1-8]","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89713073","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, is a reception of ancient Greco-Roma, and Early modern art. This article follows the iconography of four examples: the Minoan figurine of a priestess or goddess that holds serpents in her hands, Medea’s apotheosis on dragons-driven chariot from a vase painting, Saint Margaret wooden relic statue with the tiny dragon, and Cleopatra’s death by snakebites image. By following these examples an iconological line is drawn to connect between Daenerys visualization and the historic examples of the motif, demonstrating reception of not only visual issues but also concepts and meanings. Understanding iconographic and iconological reception in Daenerys television image reflect on conscious and unconscious aspects of her character and the way her figure engages with the viewers.
{"title":"Mother of Dragons","authors":"Sharon Khalifa-Gueta","doi":"10.5209/eiko.76756","DOIUrl":"https://doi.org/10.5209/eiko.76756","url":null,"abstract":"Daenerys Targaryen’s metamorphosis scene is analyzed in this article, with accordance to the millennia old structure of the motif of “the woman and the dragon.” It is suggested in this article, that the visual manifestation of Daenerys in the HBO series Game of Thrones, is a reception of ancient Greco-Roma, and Early modern art. This article follows the iconography of four examples: the Minoan figurine of a priestess or goddess that holds serpents in her hands, Medea’s apotheosis on dragons-driven chariot from a vase painting, Saint Margaret wooden relic statue with the tiny dragon, and Cleopatra’s death by snakebites image. By following these examples an iconological line is drawn to connect between Daenerys visualization and the historic examples of the motif, demonstrating reception of not only visual issues but also concepts and meanings. \u0000Understanding iconographic and iconological reception in Daenerys television image reflect on conscious and unconscious aspects of her character and the way her figure engages with the viewers. \u0000 ","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87057539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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