{"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":"27 1","pages":""},"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}
{"title":"Huerta Huerta, Pedro Luis, coord. A propósito de Satán. El submundo diabólico en tiempos del románico. Palencia: Fundación Santa María la Real Centro de Estudios del Románico, 2019 [ISBN: 978-84-17158-15-6]","authors":"Sheila Adán Lledín","doi":"10.5209/eiko.74174","DOIUrl":"https://doi.org/10.5209/eiko.74174","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"158 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74296126","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 artículo identifica y analiza los catorce Crucificados de tamaño natural tallados por el escultor Manuel Martín Nieto, natural y establecido en Morón de la Frontera, en la provincia de Sevilla, en el período comprendido entre los años 2000 y 2020. Estas esculturas forman una serie amplia, hasta ahora inédita en la bibliografía artística, en la que se pueden deducir las claves creativas y la evolución artística del autor. Igualmente hay que considerar que al menos seis de estas representaciones se encuentran entre las obras claves de la producción religiosa andaluza de las dos primeras décadas del siglo XXI, por lo que es necesario darlas a conocer haciendo las valoraciones oportunas.
本文确定并分析了雕塑家曼努埃尔·马丁·涅托(Manuel martin Nieto)在2000年至2020年期间雕刻的14个真人大小的十字架。涅托出生并定居在塞维利亚省的moron de la Frontera。这些雕塑形成了一个广泛的系列，迄今为止在艺术参考书目中没有，从中可以推断出作者的创作钥匙和艺术演变。同样，我们必须考虑到，这些作品中至少有六幅是21世纪头20年安达卢西亚宗教生产的关键作品，因此有必要通过适当的评估来宣传它们。
{"title":"Manuel Martín Nieto, la última serie de Crucificados de tamaño natural de la escultura sevillana, 2000-2020","authors":"Andrés Luque Teruel","doi":"10.5209/eiko.74159","DOIUrl":"https://doi.org/10.5209/eiko.74159","url":null,"abstract":"El artículo identifica y analiza los catorce Crucificados de tamaño natural tallados por el escultor Manuel Martín Nieto, natural y establecido en Morón de la Frontera, en la provincia de Sevilla, en el período comprendido entre los años 2000 y 2020. Estas esculturas forman una serie amplia, hasta ahora inédita en la bibliografía artística, en la que se pueden deducir las claves creativas y la evolución artística del autor. Igualmente hay que considerar que al menos seis de estas representaciones se encuentran entre las obras claves de la producción religiosa andaluza de las dos primeras décadas del siglo XXI, por lo que es necesario darlas a conocer haciendo las valoraciones oportunas.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"139 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80282069","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 article seeks to highlight the doctrinal meanings enclosed in the representation of the house of Mary in the form of a palace or an aristocratic residence in seven images of the Annunciation of the 15th century. To justify our iconographic interpretations in this sense, we based on the analysis of many exegetical comments with which many Latin Fathers and theologians interpreted several metaphorical expressions with dogmatic projection, such as domus Sapientiae, domus Dei, aula regia, palatium Regis, domicilium Trinitatis, and other analogous terms. As a methodological strategy, we use here a double comparative analysis: in the first instance, analyzing a series of patristic and theological texts that exegetically interpret the metaphors above; secondly, relating these exegetical texts with the eight Annunciations explained here.
这篇文章试图强调在15世纪天使报喜的七幅图像中，以宫殿或贵族住所的形式呈现的玛丽之家所包含的教义意义。为了在这个意义上证明我们的图像解释是正确的，我们基于许多训诂评论的分析，许多拉丁教父和神学家用教条式的预测解释了几个隐喻的表达，如domus Sapientiae, domus Dei, aula regia, palatium Regis, domicilium Trinitatis，和其他类似的术语。作为一种方法论策略，我们在这里使用了双重比较分析:首先，分析了一系列教父和神学文本，这些文本以训诂的方式解释了上述隐喻;第二，将这些训诂文本与这里解释的八个报喜联系起来。
{"title":"The House/Palace in Annunciations of the 15th Century","authors":"J. Salvador-González","doi":"10.5209/eiko.74161","DOIUrl":"https://doi.org/10.5209/eiko.74161","url":null,"abstract":"This article seeks to highlight the doctrinal meanings enclosed in the representation of the house of Mary in the form of a palace or an aristocratic residence in seven images of the Annunciation of the 15th century. To justify our iconographic interpretations in this sense, we based on the analysis of many exegetical comments with which many Latin Fathers and theologians interpreted several metaphorical expressions with dogmatic projection, such as domus Sapientiae, domus Dei, aula regia, palatium Regis, domicilium Trinitatis, and other analogous terms. As a methodological strategy, we use here a double comparative analysis: in the first instance, analyzing a series of patristic and theological texts that exegetically interpret the metaphors above; secondly, relating these exegetical texts with the eight Annunciations explained here.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"14 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81985549","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":"López de Munain, Gorka. Máscaras Mortuorias. Historia del rostro ante la muerte. Vitoria-Gasteiz: Sans Soleil, 2018 [ISBN 978-84-947354-9-3]","authors":"Elena Muñoz Gómez","doi":"10.5209/eiko.74176","DOIUrl":"https://doi.org/10.5209/eiko.74176","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82073734","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":"Alonso Tak, Alejandra and Ángel Pazos-López, eds. Socializing Art Museums. Rethinking the Public’s Experience. Berlin: De Gruyter, 2020 [ISBN: 978-3-11-064632-0]","authors":"Flavie Linard","doi":"10.5209/eiko.74165","DOIUrl":"https://doi.org/10.5209/eiko.74165","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"26 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81568872","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":"Hahn, Cynthia. Passion Relics and the Medieval Imagination. Oackland: University of California Press, 2020 [ISBN: 9780520305267]","authors":"Carmen Pardo de Santayana Castro","doi":"10.5209/eiko.74172","DOIUrl":"https://doi.org/10.5209/eiko.74172","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"45 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73428394","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 problem of the iconography of a unique image of a deity drawn on the Middle Kingdom rectangular coffin of Sepi III (Cairo CG 28083; B1C; Deir el-Bersha; CT VI, 386) is discussed in the article. It is possible that the god is the first known image of the syncretic double god Re-Osiris. The deity (with a head unusually for Egyptian iconography unfolded in full face) is shown sitting on a throne with the inscription “millions (of years)”. The image of this god could be a visual display of the eschatological plot described in Spell 1130 of the Coffin Texts (the union of Atum(-Re) and Osiris after destruction of the Universe) at the end in the Book of Two Ways, that is represented on the bottom of Sepi’s coffin.
{"title":"Some Remarks to the Semantics of Image of Deity on the Coffin of Sepi III (Cairo CG 28083).","authors":"M. Tarasenko","doi":"10.5209/eiko.74148","DOIUrl":"https://doi.org/10.5209/eiko.74148","url":null,"abstract":"The problem of the iconography of a unique image of a deity drawn on the Middle Kingdom rectangular coffin of Sepi III (Cairo CG 28083; B1C; Deir el-Bersha; CT VI, 386) is discussed in the article. It is possible that the god is the first known image of the syncretic double god Re-Osiris. The deity (with a head unusually for Egyptian iconography unfolded in full face) is shown sitting on a throne with the inscription “millions (of years)”. The image of this god could be a visual display of the eschatological plot described in Spell 1130 of the Coffin Texts (the union of Atum(-Re) and Osiris after destruction of the Universe) at the end in the Book of Two Ways, that is represented on the bottom of Sepi’s coffin.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"110 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79254723","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":"Boehm, Gottfried. ¿Cómo generan sentido las imágenes?, Edición, traducción, notas y glosario de Linda Báez Rubí, México, Instituto de Investigaciones Estéticas, UNAM, 2016 (edición original: Berlin University Press, 2008) [ISBN 978 607 02 8751 0]","authors":"Emilie Carreón Blaine","doi":"10.5209/eiko.74166","DOIUrl":"https://doi.org/10.5209/eiko.74166","url":null,"abstract":"","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78090347","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 ensayo se centra en El rapto de Perséfone, pintura mural de la Tumba I de Vergina, y forma parte de una investigación más amplia en que me he propuesto analizar las estructuras pictóricas de las escasas obras griegas que se han conservado y llegado a nuestros días. Mediante la reconstrucción de los procesos de creación artística, el artículo intenta desvelar los conocimientos del oficio de pintar de la época. Los resultados del análisis permiten demostrar que fueron los talleres helenos los que pusieron las bases de las herramientas de comunicación visual que más utilizamos actualmente, como también la representación de la forma, de la luz y de la sombra, del espacio e incluso el uso de la perspectiva lineal. El texto se dirige tanto a los especialistas en el tema como a un público más amplio. Las imágenes gráficas elaboradas por el autor facilitan la comprensión del alto nivel pictórico de la obra.
{"title":"La “fotografía” más antigua, ‘El rapto de Perséfone’","authors":"M. Bodó","doi":"10.5209/eiko.74153","DOIUrl":"https://doi.org/10.5209/eiko.74153","url":null,"abstract":"El ensayo se centra en El rapto de Perséfone, pintura mural de la Tumba I de Vergina, y forma parte de una investigación más amplia en que me he propuesto analizar las estructuras pictóricas de las escasas obras griegas que se han conservado y llegado a nuestros días. Mediante la reconstrucción de los procesos de creación artística, el artículo intenta desvelar los conocimientos del oficio de pintar de la época. Los resultados del análisis permiten demostrar que fueron los talleres helenos los que pusieron las bases de las herramientas de comunicación visual que más utilizamos actualmente, como también la representación de la forma, de la luz y de la sombra, del espacio e incluso el uso de la perspectiva lineal. El texto se dirige tanto a los especialistas en el tema como a un público más amplio. Las imágenes gráficas elaboradas por el autor facilitan la comprensión del alto nivel pictórico de la obra.","PeriodicalId":40541,"journal":{"name":"Eikon Imago","volume":"49 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84860750","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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