Monsters, Corporeal Deformities, and Phantasms in the Cloister of St-Michel-de-Cuxa

Dale, Thomas E. A.

doi:10.2307/3177236

Cited by 12 publications

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“…Este sería el caso de los monos, que aparecen por doquier en el arte medieval, como una imagen del dominio de los instintos sobre la razón. 23 En la sillería de la catedral de Toledo, los monos son especialmente ubicuos; encontramos cuatro en las misericordias, tres en los pomos y doce en los marcos escultóricos de las escenas de la guerra de Granada. Muchos de ellos adoptan una actitud humana al llevar gafas, libros o incluso un turbante, lo que sin duda podría interpretarse como una alusión al peligro de desviarse de la razón y dejarse llevar por el poder de los instintos.…”

Section: Marginalia En La Sillería De La Catedral De Toledounclassified

“…41 Este fue el modelo que siguió Rodrigo Alemán en una de las misericordias del coro de la Catedral de Toledo: dos sirenas de distinto tamaño muestran rotundos pechos desnudos y pelo enmarañado, símbolos de lujuria en la iconografía medieval. 42 La mayor de las sirenas porta un espejo y un peine, se trata de un modelo muy frecuente en las misericordias de sillerías inglesas del siglo XV, un tipo iconográfico que insiste en los conceptos de vanidad y lujuria. 43 Las sirenas de la sillería toledana constituyen una imagen erótica de fuerte contenido sensual, que advierte a los clérigos toledanos de los peligros de la tentación de la carne.…”

Section: La Castidad En El Bestiario Medievalunclassified

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Erotismo y castidad. Una guía iconográfica contra la lujuria en la sillería del coro de la catedral de Toledo.

Espí Forcén,

Poveda Martínez

2024

Res Mobilis

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La sillería de la catedral de Toledo fue tallada a finales del siglo XV por un maestro del norte de Europa conocido como Rodrigo Alemán por un posible origen de Renania. Existía en estos momentos un rico comercio entre Flandes y los reinos de la península ibérica, que propició la llegada de numerosos artistas extranjeros al rico y emergente reino de Castilla. La sillería del coro de Toledo es especialmente conocida por los relieves que narran la reciente conquista de Granada; sin embargo, nuestro estudio se centrará en dilucidar el significado hermético oculto en los relieves complementarios de la marginalia tallada por el maestro Rodrigo Alemán en esta misma obra. En concreto, analizaremos las misericordias que incorporan conocidas imágenes de los Bestiarios medievales y la cultura popular con la intención de advertir al clero de los peligros de la tentación carnal. Si bien es cierto que Rodrigo Alemán fue un maestro extranjero, las imágenes que talló en el coro de la catedral toledana gozaban de una consolidada trayectoria en el arte medieval europeo, luego podemos asumir que el clero fue en gran parte consciente de su significado moral. El presente trabajo estudiará esta iconografía marginal como una guía visual contra el pecado de la lujuria con el fin de garantizar la salvación eterna a sus potenciales espectadores.

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Section: Marginalia En La Sillería De La Catedral De Toledounclassified

Section: La Castidad En El Bestiario Medievalunclassified

Erotismo y castidad. Una guía iconográfica contra la lujuria en la sillería del coro de la catedral de Toledo.

Espí Forcén,

Poveda Martínez

2024

Res Mobilis

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“…In a study of the Goan pulpits by Ines Zupanov, the human-serpent hybrids were described as products of an intercultural encounter between Indian nagas (mythic serpents) and hybrid European creatures, such as mermaids or sirens that convey negative meanings (Zupanov 2015a). It is well known that Medieval sirens symbolized lust, avarice and deception, and survived into early modern western art as images of idolatry (Figure 13) (Dale 2001). Another example of polychrome wood carving executed by local artisans are the pulpits of Goan churches that exemplify the unique synthesis of Christian ecclesiastical artforms imported from Europe with indigenous iconography.…”

Section: Human-serpent Hybrids On Goan Pulpitsmentioning

confidence: 99%

Hybridity in the Colonial Arts of South India, 16th–18th Centuries

Cohen

2021

Religions

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This study examines the multiplicity of styles and heterogeneity of the arts created on the southern coasts of India during the period of colonial rule. Diverging from the trajectory of numerous studies that underline biased and distorted conceptions of India promoted in European and Indian literary sources, I examine ways in which Indian cultural traditions and religious beliefs found substantial expression in visual arts that were ostensibly geared to reinforce Christian worship and colonial ideology. This investigation is divided into two parts. Following a brief overview, my initial focus will be on Indo-Portuguese polychrome woodcarvings executed by local artisans for churches in the areas of Goa and Kerala on the Malabar coast. I will then relate to Portuguese religious strategies reflected in south Indian churches, involving the destruction of Hindu temples and images and their replacement with Catholic equivalents, inadvertently contributing to the survival of indigenous beliefs and recuperation of the Hindu monuments they replaced.

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“…Accordingly, anything that weakened or destroyed the reasoning capacity in man might be considered to have the power to "deform" his image, to remove the distinction that was perceived to separate men from women and men and women from animals. Loss of form therefore carried grave spiritual implications for if 'the ordered body reflected the harmonious nature of the godly soul, corporeal deformations furnished metaphors for the soul's potential degeneracy' (Dale, 2001;408). In losing human form the soul was at risk.…”

Section: Grotesque Bodies In Medieval Art and Lifementioning

confidence: 99%

“…And little by little, the mind is composed inwardly to calm, when through the custody of discipline its bad motions are not allowed free play outwardly. The perfection of virtue is attained when the members of the body are governed and ordered through the inner custody of the mind (cited in Dale, 2001;407).…”

Section: Grotesque Bodies In Medieval Art and Lifementioning

confidence: 99%

Liminal Images: Aspects of Medieval Architectural Sculpture in the South of England from the Eleventh to the Sixteenth Centuries

Woodcock¹

2005

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To understand the architectural sculpture of medieval religious buildings as fuUy as possible it must be set within its architectural, social and religious contexts. I argue that medieval religious buildings, as institutionalized points of contact with the sacred, were perceived as Hmtnal spaces -where the everyday world overlapped with the supernatural realms of saints, angels and demons. Embedded into the fabric of the church and thereby identified with it, and rarely following any particular patterns of placement, architectural sculpture presented a visual evocation of Hminahty through its use of some of the key techniques of grotesque art, for example, hybridity, distortion, exaggeration, and replication. These images drew attention to the space articulated by the building as similarly ambiguous and unclassifiable, ideas well-suited to its role as God's house on earth. Lirninal locations are, however, dangerous as well as potent and merit some form of protection from the potentially malefic energy of the sacred. Medieval architectural sculpture therefore has an apotropaic purpose as well; identification of Hminal space and protection from it are perhaps its two most fundamental aspects. Imagery considered effective apotropaia is also highly esteemed, which may reflect its prolific use on high status buildings. Thus, "grotesque" images, rather than an aberrant feature of medieval religious art, are instead entirely appropriate. Close analysis of various aspects of the imagery reveals a resistance to definitive interpretation and permeability of meanings, substantiating the idea that these were intentionally liminal images. Contents a%% v4#bMwA^^m%%b joaa Roofline Images 97 Romanesque Corbel-tables 98 Cornices, Friezes, Gargoyles and Grotesques 103 Arches 107 Voussoirs 107 Lintels and Tympana 108 Capitals 110 Apexes 111 Terminations 112 Reveals 112 Misericords and Roof Bosses 112 Apotropaic Heads and Other Images 114 Antefixa and Romano-British Heads 118

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Monsters, Corporeal Deformities, and Phantasms in the Cloister of St-Michel-de-Cuxa

Cited by 12 publications

References 0 publications

Erotismo y castidad. Una guía iconográfica contra la lujuria en la sillería del coro de la catedral de Toledo.

Erotismo y castidad. Una guía iconográfica contra la lujuria en la sillería del coro de la catedral de Toledo.

Hybridity in the Colonial Arts of South India, 16th–18th Centuries

Liminal Images: Aspects of Medieval Architectural Sculpture in the South of England from the Eleventh to the Sixteenth Centuries

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