Loading...
Publication
Estudo sobre o juízo final no túmulo de D. Inês De Castro
| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 10.23 MB | Adobe PDF |
Authors
Abstract(s)
O túmulo de D. Inês de Castro, localizado no Mosteiro de Alcobaça, constitui uma das grandes obras da escultura funerária Portuguesa do séc. XIV abrigando um programa iconográfico notável, original e complexo. O seu programa iconográfico não só vai materializar o amor de D. Pedro e D. Inês, como entregar um retrato individualizado do monarca, impondo uma iconografia fundamental na doutrina e fé cristãs - O Juízo Final – único exemplar na escultura portuguesa medieval, embora compareça frequentemente por toda a europa medieval. Tratando-se de um tema de máxima complexidade, visto que encerra a história da Humanidade, a sua construção no imaginário medieval foi sofrendo modificações e as imagens alterando-se na Idade Média.
Este estudo aborda a iconografia do Juízo final no túmulo da nobre galega, analisando-o com outras imagens executadas na europa medieval. A partir das análises dos exemplos, procuramos abordar as mudanças nos modos de representação do tema do Juízo final até ao séc. XIV. Assume especial importância quando ajustado às transformações das mentalidades do séc. XIV sobre a individualidade e o destino da alma após a morte. Assim, a nossa preocupação neste estudo foi dupla: ora servindo como análise no programa iconográfico, ora refletir sobre o que levou à escolha deste tema, pouco comum na tumulária medieval, procurando entender a função que desempenhava através do seu programa iconográfico.
A estrutura desta dissertação abrange todos os motivos iconográficos do Juízo Final no facial dos pés do monumento funerário, da ressurreição dos mortos, ao Inferno, o Paraíso e, com especial importância, a análise das duas figuras na janela geminada, que nos conduz a questões centrais no estudo da imagem do doador, a representação da Visão Beatífica, assim como a possibilidade de nos encontrarmos perante uma representação do Juízo Particular/Individual ou até mesmo dos dois Juízos representados na mesma imagem.
The tomb of D. Inês de Castro, located in the Monastery of Alcobaça, constitutes one of the greatest works of Portuguese funerary sculpture of the 14th century holding a remarkable, original and complex iconographic program. This will not only materialize the love between D. Pedro and D. Inês, but also provide an individualized portrait of the monarch, establishing a fundamental iconography in Christian doctrine and faith - The Last Judgment - the only example in medieval Portuguese sculpture, although it frequently appears throughout medieval Europe. Since this is a highly complex subject, as it closes the history of Humankind, its setting in the medieval imagery undergone some changes and the images shifted in the Middle Ages. This study approaches the iconography of the Last Judgment on the tomb of the Galician noblewoman, analyzing it to other images executed in medieval Europe. Based on the analysis of the examples, we try to address the changes in the modes of representation of the Last Judgment up to the 14th century. They take on special importance when adjusted to the changes in 14th century beliefs on individuality and what happens to our soul after death. Thus, our concern in this study was twofold: serving as an analysis on the iconographic program and, at the same time, reflecting on what led to the choice of this theme, uncommon in medieval tombs, seeking to understand the function it played through its iconographic program. The structure of this dissertation covers all of the iconographic motifs of the Last Judgment in the funerary monument, from the resurrection of the dead, to Hell, Paradise and, specially, the analysis of the two figures in the semi-detached window, which leads us to fundamental questions in the study of the image of the donor, the representation of the Beatific Vision, as well as the possibility that we are facing a representation of a Private/Individual Judgment or even both Judgments, represented in the same image.
The tomb of D. Inês de Castro, located in the Monastery of Alcobaça, constitutes one of the greatest works of Portuguese funerary sculpture of the 14th century holding a remarkable, original and complex iconographic program. This will not only materialize the love between D. Pedro and D. Inês, but also provide an individualized portrait of the monarch, establishing a fundamental iconography in Christian doctrine and faith - The Last Judgment - the only example in medieval Portuguese sculpture, although it frequently appears throughout medieval Europe. Since this is a highly complex subject, as it closes the history of Humankind, its setting in the medieval imagery undergone some changes and the images shifted in the Middle Ages. This study approaches the iconography of the Last Judgment on the tomb of the Galician noblewoman, analyzing it to other images executed in medieval Europe. Based on the analysis of the examples, we try to address the changes in the modes of representation of the Last Judgment up to the 14th century. They take on special importance when adjusted to the changes in 14th century beliefs on individuality and what happens to our soul after death. Thus, our concern in this study was twofold: serving as an analysis on the iconographic program and, at the same time, reflecting on what led to the choice of this theme, uncommon in medieval tombs, seeking to understand the function it played through its iconographic program. The structure of this dissertation covers all of the iconographic motifs of the Last Judgment in the funerary monument, from the resurrection of the dead, to Hell, Paradise and, specially, the analysis of the two figures in the semi-detached window, which leads us to fundamental questions in the study of the image of the donor, the representation of the Beatific Vision, as well as the possibility that we are facing a representation of a Private/Individual Judgment or even both Judgments, represented in the same image.
Description
Keywords
Juízo final D. Inês de Castro Idade média Iconografia Escultura funerária.