Esplorando dal punto di vista storico, antropologico e artistico l'incredibile successo e diffusione del motivo della Madonna Lactans, il presente scritto si propone di indagare le dinamiche politiche associate al motivo stesso e alla devozione ad esso correlata. Il motivo è un utile punto di accesso per indagare quali orizzonti simbolici, soprattutto legati alla corporeità, vengano attivati nel difficile rapporto tra élite di potere e cultura popolare nello stabilire la legittimità politica. Questa indagine si prefigge di esplorare questo rapporto in diversi contesti socio-culturali del Mediterraneo arricchendo l'analisi tramite una comparazione tra la censura post-tridentina sul motivo e la ripresa del tema nell’impero mughal tra il secolo XVI ed il XVII.
{"title":"La Madonna Lactans tra Cristianesimo ed Islam. La vita di un motivo attraverso devozione popolare, arte ed élite politiche","authors":"Andrea Missagia, Feliciano Tosetto","doi":"10.5209/eiko.76107","DOIUrl":"https://doi.org/10.5209/eiko.76107","url":null,"abstract":"Esplorando dal punto di vista storico, antropologico e artistico l'incredibile successo e diffusione del motivo della Madonna Lactans, il presente scritto si propone di indagare le dinamiche politiche associate al motivo stesso e alla devozione ad esso correlata. Il motivo è un utile punto di accesso per indagare quali orizzonti simbolici, soprattutto legati alla corporeità, vengano attivati nel difficile rapporto tra élite di potere e cultura popolare nello stabilire la legittimità politica. Questa indagine si prefigge di esplorare questo rapporto in diversi contesti socio-culturali del Mediterraneo arricchendo l'analisi tramite una comparazione tra la censura post-tridentina sul motivo e la ripresa del tema nell’impero mughal tra il secolo XVI ed il XVII.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82985729","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":"Han, Byung-Chul. La desaparición de los rituales. Una tipología del presente. Traducido por Alberto Ciria. Barcelona: Herder, 2020 [ISBN: 978-84-254-4400-5]","authors":"Rubén De Diego Pérez","doi":"10.5209/eiko.74173","DOIUrl":"https://doi.org/10.5209/eiko.74173","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80109220","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}
En la historia del arte y de la cultura visual aparecen cuerpos muertos femeninos, habitualmente remarcando su belleza y juventud, sobre los que se ejerce una serie de consideraciones bien distintas a las que merecen los muertos masculinos. Entre ellas la curiosidad científica, el erotismo o la atracción convergen para justificar la exhibición y contemplación de las muertas femeninas. Paralelamente, el imaginario literario ha alimentado mitos sobre el poder que procesaban dichos cuerpos fenecidos en los varones, recalando con el tiempo en los medios de comunicación de masas, especialmente en el cine. Otra vertiente que considerar ha sido la proliferación de fotografías post mortem en donde las mujeres aparecían con los atributos históricamente asociados a la feminidad: como dulces seres inmaculados o bien como dignas beatas. En suma, el cuerpo muerto de la mujer ha sido profanado simbólicamente hasta llegar a nuestros días.
{"title":"Profanación de los cuerpos muertos femeninos","authors":"Esther González Gea","doi":"10.5209/eiko.74139","DOIUrl":"https://doi.org/10.5209/eiko.74139","url":null,"abstract":"En la historia del arte y de la cultura visual aparecen cuerpos muertos femeninos, habitualmente remarcando su belleza y juventud, sobre los que se ejerce una serie de consideraciones bien distintas a las que merecen los muertos masculinos. Entre ellas la curiosidad científica, el erotismo o la atracción convergen para justificar la exhibición y contemplación de las muertas femeninas. Paralelamente, el imaginario literario ha alimentado mitos sobre el poder que procesaban dichos cuerpos fenecidos en los varones, recalando con el tiempo en los medios de comunicación de masas, especialmente en el cine. Otra vertiente que considerar ha sido la proliferación de fotografías post mortem en donde las mujeres aparecían con los atributos históricamente asociados a la feminidad: como dulces seres inmaculados o bien como dignas beatas. En suma, el cuerpo muerto de la mujer ha sido profanado simbólicamente hasta llegar a nuestros días. ","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87715190","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 presente artículo propone un estudio comparado de las lápidas de la ciudad de Alcalá de Henares y las del Museo do Carmo en Lisboa, en cuya epigrafía encontramos representaciones escritas en forma de menciones, nombres propios y expresiones que aluden a las mujeres enterradas allí. Estas mujeres, miembros de la élite social, gozaron del privilegio de ser enterradas dentro de los templos, práctica que estaba reservada a unos pocos. Un rastreo de la ausencia de símbolos macabros que sí aparecen, en cambio, en algunas lápidas masculinas del mismo contexto, da paso a la formulación de una hipótesis acerca de la diferencia de género a la hora de incluir dicha simbología. Esta hipótesis se desmiente en otros casos en España e Inglaterra, pero se confirma en el caso que nos ocupa. En futuras investigaciones esperamos poder extender la muestra.
本文对alcala de Henares市的墓碑和里斯本Carmo博物馆的墓碑进行了比较研究，在这些墓碑上，我们发现了以提到、名字和表达方式的书面表现，暗示了埋葬在那里的女性。这些女性，社会精英的成员，享有被埋葬在寺庙的特权，这是只有少数人保留的做法。然而，对一些男性墓碑中出现的可怕符号的缺失的追踪，让位于在包含这些符号时对性别差异的假设的形成。这一假设在西班牙和英国的其他案例中被证明是错误的，但在本案中得到了证实。在未来的研究中，我们希望能够扩大样本。
{"title":"Muerte y sexuación en la Edad Moderna","authors":"Marina Aguilar Salinas","doi":"10.5209/eiko.74133","DOIUrl":"https://doi.org/10.5209/eiko.74133","url":null,"abstract":"El presente artículo propone un estudio comparado de las lápidas de la ciudad de Alcalá de Henares y las del Museo do Carmo en Lisboa, en cuya epigrafía encontramos representaciones escritas en forma de menciones, nombres propios y expresiones que aluden a las mujeres enterradas allí. Estas mujeres, miembros de la élite social, gozaron del privilegio de ser enterradas dentro de los templos, práctica que estaba reservada a unos pocos. Un rastreo de la ausencia de símbolos macabros que sí aparecen, en cambio, en algunas lápidas masculinas del mismo contexto, da paso a la formulación de una hipótesis acerca de la diferencia de género a la hora de incluir dicha simbología. Esta hipótesis se desmiente en otros casos en España e Inglaterra, pero se confirma en el caso que nos ocupa. En futuras investigaciones esperamos poder extender la muestra.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87589395","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}
This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes.
{"title":"Sadness, Gender and Empathy","authors":"Inmaculada Vivas Sainz","doi":"10.5209/eiko.74151","DOIUrl":"https://doi.org/10.5209/eiko.74151","url":null,"abstract":"This paper is focused on private tomb scenes with mourners dated to the end of the 18th Dynasty located in the Egyptian Memphite necropolis, with a special interest on the artistic resources and the clear division of groups according to the gender of mourners, as mourning men in expressive attitudes are particularly rare in ancient Egyptian scenes. The presence of men in grief, together with the traditional female mourners, within the funerary procession is striking, portraying expressive poses which provoke feeling of empathy and sorrow in the beholder. Indeed, the expressions of feelings in mourning scenes and their diverse artistic treatment in Memphite tomb decoration reveals the innovation and originality of the artists, features that could be traced back to the reign of Akhenaten. This paper explores the complex process of creation of the funerary iconography of the Post-Amarna art, a period of religious, political and social changes which were mirrored in private tomb scenes.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86375245","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":"Martínez López, Cándida, Henar Gallega Franco, María Dolores Mirón Pérez y Mercedes Oria Segura. Constructoras de ciudad. Mujeres y arquitectura en el Occidente romano. Madrid: Comares, 2019 [ISBN: 978-8490459003]","authors":"Alba Gómez de Zamora Sanz","doi":"10.5209/eiko.74178","DOIUrl":"https://doi.org/10.5209/eiko.74178","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83374288","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}
La presente reflexión aborda el fenómeno de la muerte y lo problemático de su representación, tanto en el lenguaje plástico y visual, como desde una aproximación teórico- conceptual. Con el objetivo de pensar desde lo concreto se aventura una aproximación hermenéutica a la última obra gráfica del pintor outsider Martín Ramírez. En el ámbito de la teoría se exponen algunos conceptos presentes en la filosofía de Martin Heidegger, tales como finitud, muerte, angustia y la nada. La estrategia metodológica pasa por establecer un discurso interdisciplinar, en estrecho dialogo crítico con la tradición racionalista y la metafísica de la Modernidad, pero manteniendo la precaución de no reducir ni supeditar al cuerpo teórico el análisis morfológico-compositivo de la obra visual. El planteamiento, transversal a todo el artículo, parte de la hipótesis de que el fenómeno de la muerte encierra cierta condición reluctante –incluso refractante– a la representación.
{"title":"A propósito de la muerte","authors":"Aixa Takkal Fernández, Alberto Rubio Garrido","doi":"10.5209/eiko.74147","DOIUrl":"https://doi.org/10.5209/eiko.74147","url":null,"abstract":"La presente reflexión aborda el fenómeno de la muerte y lo problemático de su representación, tanto en el lenguaje plástico y visual, como desde una aproximación teórico- conceptual. Con el objetivo de pensar desde lo concreto se aventura una aproximación hermenéutica a la última obra gráfica del pintor outsider Martín Ramírez. En el ámbito de la teoría se exponen algunos conceptos presentes en la filosofía de Martin Heidegger, tales como finitud, muerte, angustia y la nada. La estrategia metodológica pasa por establecer un discurso interdisciplinar, en estrecho dialogo crítico con la tradición racionalista y la metafísica de la Modernidad, pero manteniendo la precaución de no reducir ni supeditar al cuerpo teórico el análisis morfológico-compositivo de la obra visual. El planteamiento, transversal a todo el artículo, parte de la hipótesis de que el fenómeno de la muerte encierra cierta condición reluctante –incluso refractante– a la representación.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74659538","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":"Rose, Gillian. Metodologías visuales. Una introducción a la investigación con materiales visuales. Murcia: Centro de Documentación y Estudios Avanzados de Arte Contemporáneo, 2019 [ISBN: 9788415556671]","authors":"Marta Morueco O´Mullony","doi":"10.5209/eiko.74180","DOIUrl":"https://doi.org/10.5209/eiko.74180","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85485982","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 present article aims to examine a folk literary motif from the ‘Kirātārjunīyam’. Kirāta (hunter-Śiva) and Arjuna once needed to clash with each other during the forest life of the Pāṇḍavas. Arjuna wanted to obtain the coveted pāśupatāstra from Śiva that could only be awarded to a soldier of mettle to wield the missile efficiently. Arjuna undertook hazardous tapas pleased with which Śiva tested Arjuna and finally awarded the astra. This myth appears in the Mahābhārata dated sometime in the fifth century BCE and its folk origin may get back to the immoral past. This story was retold in a classical work by the poet Sanskrit Bhāravi in eighteen cantos. The article examines a key motif relating to the Penance of Arjuna (cf. the Māmallapuram bas relief) from the Kirātārjunīyam episode, called pañcāgnitapas and how the Penance of Arjuna is retold in the ballad understudy? Several folk motifs of kuṟavaṉ-kuṟatti of Kuṟṟālakkuṟavañci are illustrated in a later phase of the art in Tamilnadu (e.g., the Thousand-Pillared Hall of the Great Maturai Temple of the Nāyaka period). Kirātārjunīyam was a popular motif in sculptural art though the ages.
{"title":"From Purāṇic to Folk: the ‘Kirātārjunīyam Ballade’ and Visuals","authors":"Raju Kalidos Kesava Rajarajan","doi":"10.5209/eiko.74158","DOIUrl":"https://doi.org/10.5209/eiko.74158","url":null,"abstract":"The present article aims to examine a folk literary motif from the ‘Kirātārjunīyam’. Kirāta (hunter-Śiva) and Arjuna once needed to clash with each other during the forest life of the Pāṇḍavas. Arjuna wanted to obtain the coveted pāśupatāstra from Śiva that could only be awarded to a soldier of mettle to wield the missile efficiently. Arjuna undertook hazardous tapas pleased with which Śiva tested Arjuna and finally awarded the astra. This myth appears in the Mahābhārata dated sometime in the fifth century BCE and its folk origin may get back to the immoral past. This story was retold in a classical work by the poet Sanskrit Bhāravi in eighteen cantos. The article examines a key motif relating to the Penance of Arjuna (cf. the Māmallapuram bas relief) from the Kirātārjunīyam episode, called pañcāgnitapas and how the Penance of Arjuna is retold in the ballad understudy? Several folk motifs of kuṟavaṉ-kuṟatti of Kuṟṟālakkuṟavañci are illustrated in a later phase of the art in Tamilnadu (e.g., the Thousand-Pillared Hall of the Great Maturai Temple of the Nāyaka period). Kirātārjunīyam was a popular motif in sculptural art though the ages.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83837866","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 formation of the first state system in Europe took place from the conclusion of the Peace of Westphalia in 1648, as a result of the Thirty Years’ War (1618-1648), to the Utrecht (1713), Rastatt-Baden (1714) and Nystad Congresses (1721) which finished the end of the war of the Spanish Succession and the Northern war. The legal fixation of the Westphallian system was accompanied by its public perception and acceptance. First of all, this was demonstrated by International Congresses, which were not only a common negotiation process, but also a place of representation of the significance and culture of each state. In fact, the European Congress was a carefully designed triumph of Рeace within the continent, which required considerable funds, was widely covered in the press and glorified in celebrations, paintings, plastic art, release of commemorative medals, poetry and even fashion. The article presents the most striking examples of iconography of Peace Congresses. The author believes that their performative nature and iconography, emphasizing the European character of Peace and the protopatriotic moods that it evoked, made a significant contribution to the civilization heritage of Europe.
{"title":"Iconography of Peace Сongresses during the Formation of the Westphallian System","authors":"L. Ivonina","doi":"10.5209/EIKO.74157","DOIUrl":"https://doi.org/10.5209/EIKO.74157","url":null,"abstract":"The formation of the first state system in Europe took place from the conclusion of the Peace of Westphalia in 1648, as a result of the Thirty Years’ War (1618-1648), to the Utrecht (1713), Rastatt-Baden (1714) and Nystad Congresses (1721) which finished the end of the war of the Spanish Succession and the Northern war. The legal fixation of the Westphallian system was accompanied by its public perception and acceptance. First of all, this was demonstrated by International Congresses, which were not only a common negotiation process, but also a place of representation of the significance and culture of each state. In fact, the European Congress was a carefully designed triumph of Рeace within the continent, which required considerable funds, was widely covered in the press and glorified in celebrations, paintings, plastic art, release of commemorative medals, poetry and even fashion. The article presents the most striking examples of iconography of Peace Congresses. The author believes that their performative nature and iconography, emphasizing the European character of Peace and the protopatriotic moods that it evoked, made a significant contribution to the civilization heritage of Europe.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86903372","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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