In this paper, we study astral symbols such as wheels, swastikas, triskelions and lunar crescents when they appear in votive offerings dedicated to Celtic divinities in the Western regions of the Roman Empire. From the presence of these symbols in numerous funeral steles and in archaeological contexts related to death in areas of intense Celtic cultural presence, we formulate the hypothesis that the Celtic divinities related to these symbols throughout the Roman West have an astral character and, in addition, a (...) mythological and ritual connection with the funerary world. (shrink)

Resumo Este artigo pretende avaliar o papel da imagem na história do atomismo e sua relação com a ideia da visualização do invisível da matéria, com enfoque nas perspectivas epistemológicas de Gaston Bachelard. As origens do atomismo estão ligadas à visão, mas é somente no final do século XVI que a iconografia atomística surge. No artigo, a autora procura evidenciar a tentação humana para o “reino das imagens”: começando por explanar a importância da “metafísica da poeira” ; fazendo notar (...) que o termo “átomo” designou entidades diversas e ressaltando a importância conferida à geometria nas concepções atomísticas, tão presente ao longo da história do atomismo filosófico; tecendo considerações sobre uma das primeiras imagens do átomo - Area Democriti, de Giordano Bruno; colocando em destaque a problemática da imagem no atomismo contemporâneo e do seu radical abstracionismo; explorando o paradoxo da utilidade das imagens a partir de várias obras bachelardianas; mostrando que Bachelard não parece tomar a noção de imagem em sentido lato e que distinguir imagens de não-imagens é supor que ela tenha uma essência e classificação estável; e, por fim, apontando para o fato de cada vez mais a filosofia da ciência tentar apurar qual a função que a iconografia pode ter na criação científica e na transmissão de conhecimento.This article aims to evaluate the role of image in the history of atomism and its relation with the idea of visualization of the invisible of matter, focusing on the epistemological perspectives of Gaston Bachelard. The origins of atomism are linked to vision, but it is only in the late sixteenth century that the atomistic iconography appears. In the article, the author seeks to evince the human temptation to "the realm of images": starting by expounding the importance of the "metaphysics of dust" ; noting that the term "atom" has designated several entities and emphasizing the importance given to geometry in atomistic conceptions, so present throughout the history of philosophical atomism; making considerations about one of the first images of the atom - Area Democriti, of Giordano Bruno; by highlighting the problematics of the image in contemporary atomism and of its radical abstractionism; exploring the paradox of the usefulness of images from various works of Bachelard; showing that Bachelard does not seem to take the concept of image in a broad sense and that to distinguish images of non-images is to assume that it has an essence and stable classification; and, finally, pointing to the fact that increasingly the philosophy of science attempts to investigate what function the iconography may have in scientific creation and transmission of knowledge. (shrink)

O antigo convento do Santíssimo Coração de Jesus à Estrela encerra um interessante conjunto de painéis de azulejos alusivos à vida de Santa Teresa de Jesus, cujas composições foram concebidas a partir da cópia directa de dez gravuras do álbum Vita S. Virginis Teresiae a Iesv. Série biográfica impressa pela primeira vez em Amberes em 1613, a sua concretização coube aos célebres gravadores Adriaen Collaert e Cornelis Galle. Convertidas num modelo corrente para inúmeras obras de arte ao longo dos tempos, (...) assumiram urna importância capital na fixação e desenvolvimento de parte da iconografia teresiana, constituindo-se como um eficaz veículo para a rápida difusão da sua biografia. (shrink)

Para compreender as relações entre imagem e texto no livro moderno, é necessário ter em conta todos aqueles que contribuem para estabelecer os significados dos textos e das imagens. Falamos, assim, também de impressores e papeleiros que nos deixaram, como testemunho, as suas marcas. Duas diferentes vias nos levam, através da análise da imagem, aos impressores e ao seu trabalho: por um lado, o conhecimento da principal matéria-prima, o papel, com as suas marcas de água e filigranas, e, por out...

En 1561 la Hermandad Sacramental del Sagrario de la catedral de Sevilla solicita a los calonges se exorne la pared de su capilla en las gradas por lo que el cabildo encarga al pintor Luis de Vargas realice una pintura mural de Jesús camino de la amargura. La obra es estrenada en 1563 y en ella se representa al Redentor ataviado con túnica blanca de igual modo que los condenados que por allí pasaban camino del patíbulo y portando la cruz (...) al revés. El llamado popularmente “Cristo de los Ajusticiados” es un claro exponente de un retablo callejero que tanta devoción popular manifestó en la España de la Edad Moderna. (shrink)

El objetivo de esta investigación es poner de manifiesto la importancia de las imágenes de vestir marianas y, también, las joyas y accesorios que presentan. Se plantearán las bases y claves de un lenguaje no verbal que actúa como testimonio de la devoción además de las relaciones sociales y económicas del momento que las marcan. Merced a los casos analizados, se comprobará cómo, con gran frecuencia, se une a la piedad popular de pueblos y de las culturas de determinados acontecimientos (...) de la zona. Los resultados demostrarán la importancia dada y valores atribuidos a este tipo de iconografía. (shrink)

It is necessary to consider medieval Western Neoplatonism as a current of thought inserted in a wide cultural atmosphere where liturgical, theological, aesthetic, and artistic patterns play an important role as elements of a common historical past. In this article the author argues to what extent Neoplatonic concepts (Epiphany, Negative Theology, Theology of Light and Metaphor of Light) derived from Johannes Scotus Eriugena, translator of the Corpus Areopagiticum into latin, relate to the Iconography of Crist-Light or Maiestas domini in a (...) mandorle of light. Writings of various thinkers, paintings from the 12th century and medieval epigraphy are taken as primary sources in order to understand the relationship between Neoplatonism and Iconography in the European Middle Ages. (shrink)

On propose une biographie de Petrus Alfonsi de Huesca. On reproduit notre déduction mathématique de l'icone Trinitaire d'un parchemin de Chartres, du Xlll siècle, depuis la figure précabalistique de Petrus Alfonsi, qu'il a introduit dans son oeuvre Dialogue contre les juifs en l'année 1110. On presente aussi trois matérialisations de I'enlacement alterné de trois anneaux deux à deux non enlacés.A Biography of Pedro Alfonso es proposed from the information today known. There is repruduced our mathematical deduction of the icon Trinitario (...) of a parchment of Chartres of the XIIIth century from a figure precabalistica introduced in 1110 by Pedro of Huesca and it is presented three other materializations of the "alternated link of three any two nost linked". (shrink)

The initial conception this work, in fact a combination of a large repertory and image catalogue, an introduction into the iconographic depiction of the Observant friar Giovanni of Capestrano, and additional contributions on the life of Giovanni, the controversies surrounding him, and his hagiographic representation prior to his canonization in 1690, apparently lies with Luca Pezzuto's visit of the Museo Nazionale d'Abruzzo as a young graduate student. Impressed by the painting Beato Giovanni da Capestrano e quattro miracoli della sua vita, (...) he decided to write his doctoral thesis on this particular visual representation, and subsequently embarked on the ambitious project to gather and properly document all images... (shrink)

A biography of Pedro Alfonso is proposed from the information today known. There is reproduced our mathematical deduction of the icon Trinitario of a parchment of Chartres of the XIIIth century from a figure precabalística introduced in 1110 by Pedro Alfonso of Huesca and it is presented three other materializations of the «alternated link of three rings any two not linked».

It is necessary to consider medieval Western Neoplatonism as a current of thought inserted in a wide cultural atmosphere where liturgical, theological, aesthetic, and artistic patterns play an important role as elements of a common historical past. In this article the author argues to what extent Neoplatonic concepts (Epiphany, Negative Theology, Theology of Light and Metaphor of Light) derived from Johannes Scotus Eriugena, translator of the Corpus Areopagiticum into latin, relate to the Iconography of Crist-Light or Maiestas domini in a (...) mandorle of light. Writings of various thinkers, paintings from the 12th century and medieval epigraphy are taken as primary sources in order to understand the relationship between Neoplatonism and Iconography in the European Middle Ages. (shrink)

La pittura islamica e in particolare l’illustrazione dei manoscritti, opere a circolazione limitata e prevalentemente privata, ha avuto una notevole diffusione godendo del patrocinio delle corti. Alcune pitture, soprattutto quelle che illustrano l’Ascensione celeste del profeta Muhammad, ma anche le Storie dei Profeti, pitture datate al XIV e XV secolo, rappresentano l’uno e gli altri col volto scoperto. Solo relativamente tardi, in particolare nel mondo iranico, ma anche presso gli ottomani o i Moghul dell’India, il volto del Profeta diventa una (...) convenzione iconografica. Un versetto coranico afferma che Dio parla all’uomo o per Rivelazione o dietro a un velame. Per questo nell’iconografia della pittura islamica si constata che il Profeta o altri personaggi possono figurare con il volto coperto da un velo. Questo segno di rispetto, col tempo, si trasformerà in parola e il sembiante del Profeta sarà reso calligraficamente. Islamic painting and particularly miniature painting illustrating manuscripts, books restricted to few people and for personal use, had a considerable circulation thanks to the patronage of courts. Some paintings, chiefly those illustrating the heavenly Ascent of the prophet Muhammad, but also Histories of Prophets, paintings dated to the XIV and XV century, show him and the others barefaced. Only fairly later, particularly in the iranian world, but also among Ottomans or the Moghuls of India, the face of the Prophet becomes an iconographic convention. According to a Koranic verse God speaks to man either through Revelation of behind a veil. For this reason in the iconography of islamic painting the Prophet or other people may appear with the face covered by a veil. This sign of respect, in the course of time, changed and the countenance of the Prophet was rendered in words, that is calligraphically. (shrink)

Proceeding from the statement that «reading» images is not at all analogous to any culturally codified lecture of written texts, Sigrid Weigel develops a crucial critic of the anthropological paradigm linked to the left-right problem in the visual arts. Focusing on various examples of painted and sculpted Annunciations, the author argues how the decline of the traditional orientation, based on the figure of God in central position, leads to a growing importance of the spectator gaze and to a new relation (...) between iconic narration and symbolic meaning. (shrink)

En el presente artículo se analizan las emisiones dcl año 408/1017-1018 que llevara a cabo 'Alí b. Hammúd, primer califa de la dinastía hammúdí en al-Andalus. Se ha prestado especial atención al análisis dc las leyendas monetales y a su relación con diversos aspectos relativos a la legitimidad de dicha dinastía. Asimismo, se ha estudiado la presencia del motivo figurativo del pez en una de las series de este año y se ha sugerido una serie de hipótesis interpretativas y líneas (...) de investigación que puedan llevarnos a un mejor conocimiento dc la numismática hammúdí. Para finalizar, se incluye el catálogo de los ejemplares con peces del año 408/1017-1018. (shrink)