Historia del Arte

En el presente artículo se proceden a analizar los factores explicativos de la incorporación de las cuestiones de género en las agendas políticas de Arabia Saudí e Irán desde una perspectiva doméstica e internacional. Para la comprensión de la adquisición de estas políticas atenderemos tanto a la internacionalización de la agenda de género como a las luchas de los movimientos sociales en ambos estados, lo cual ha presentado dos modelos: el saudí, basado en la apropiación del discurso de las activistas y en su silenciamiento; y el iraní, mucho más modesto a escala doméstica e internacional pero directamente relacionado con las demandas de dichos movimientos sociales a partir de una integración de los mismos en las dinámicas de poder. Para ello, en primer lugar, se estudiarán las trayectorias de las políticas de género de ambos estados; en segundo lugar, se procederá al estudio de la rivalidad regional de ambos estados bajo la construcción de identidades polarizadas; y, finalmente, se analizará la incorporación de políticas de género como modelo de legitimación del liderazgo regional.

This article analyses the history, artistic context and caracteristics of the so-called San Segundo's Chalice (Avila Cathedral, Spain), an important Sienese enamelled work (basse-taille) signed by Andrea Petrucci, maybe Andrea di Petruccio Campagnini (ca. 1320-1370). It was found in 1519 in a medieval tomb at Ávila (Spain) acompaining a corpse then identificated as Saint Segundo, the legendary first bishop of the city.

Esta contribución plantea una mirada general sobre el arte paleocristiano y el primer arte bizantino, con atención a los valores de carácter político-religioso de la propaganda e imagen imperial tardoantigua, herederos de la estética clásica grecolatina. Se reflexiona sobre la permanencia de dichas tradiciones y su vocación legitimadora y de prestigio, así como sobre la evolución o metamorfosis a la que se someten de la mano del pensamiento cristiano y la filosofía de Plotino, que encuentra su continuación en el Pseudo Dionisio Areopagita.

A través de una serie de hitos fundamentales (tanto textos históricos como obras de la cultura material) se presta especial atención a las conexiones entre las artes (como ejemplo más destacado, la arquitectura como elemento simbólico en la eboraria, la escultura, el mosaico, la metalistería y la pintura; sin olvidar las implicaciones de todas ellas en el ceremonial imperial y la liturgia cristiana), así como a uno de los principales problemas del arte cristiano en sus orígenes y su desarrollo posterior: la representación de lo invisible y lo trascendental; y el papel del espectador. El motivo iconográfico de la etimasia permitirá resumir todas estas ideas.

Essay on Visigothic niche-plaques, and the mihrab and macsura of Mosque of Cordoba, focused on their formal and iconological aspects and their referents on the architecture of power and the symbolic representation of divinity.

Ensayo sobre las placas-nicho visigodas y el mihrab y macsura de la mezquita de Córdoba centrado en sus aspectos formales e iconológicos y sus referentes en la arquitectura de poder y la representación simbólica de la divinidad.

Esta propuesta parte de las premisas bosquejadas en el VIII Coloquio de la AIER, para reflexionar con más detalle sobre la llamada “arquitectura de poder”, sus fuentes y emisores, su razón de ser y su difusión por el Imperio, prestando especial atención a la "serliana". Indagaremos sobre el viaje de las formas –ligadas o no a contenidos concretos– y sobre sus canales de transmisión, que proyectaron imágenes cuya carga simbólica y de prestigio tuvo gran trascendencia durante siglos. Destacaremos el papel del espectador y su cultura visual a la hora de enfrentarse a estas producciones, bajo los conceptos que nos hablan de la “elocuencia” de los implicados en su uso: presentación y representación, emisión y transmisión, visión y revisión, imagen e imaginación.

Essay on the origin, use and development of the arcuated lintel and the configuration of the so called “Serlian motif” in ancient Rome. These architectural elements will be related to the architecture of power on its technical, visual and symbolic sphere. Also its sources, transmission channels and its diffusion throughout space and time will be analyzed from a historical and cross-cultural point of view. Numismatic, silverwork, ivory and mosaic representations –in addition to buildings– can offer a rich repertory of images that speak about the relations between visual culture, religion and power. In this context, the arcuated lintel and the “Serlian motif” project visual and mental representations that appeal to written sources and its ideology. Furthermore, the analyzed motifs will become important elements of the Western cultural legacy for centuries. The analysis of these events will contribute to the comprehension of the role played by some resources of ancient Rome architecture of power and its success.

"This work is conceived to provide a general approach to the study of the different structures of Roman architecture - and of its representations – that combine the arched system with the architrave and that are traditionally grouped under terms like “arcuated trabeation” and “Syrian pediment” or other similar (“Syrian arch”, “arcuated lintel”, “arcuated architrave”, “arcuated gable”, “arcuated pediment”). This paper will address all-round issues of form and terminology, of origin and spread (with particular attention to the problem presented by the site of Sî῾ Syria), of use in constructions and iconography and of possible symbolic value. The study focuses on key concepts and basic bibliography as well as on some technical, functional and symbolic aspects able to broaden what has been outlined so far.
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Este trabajo se concibe como una aproximación general al estudio de distintas estructuras de la arquitectura romana –y sus representaciones– que combinan el sistema arcuado con el arquitrabado y que tradicionalmente se engloban bajo los términos “entablamento arcuado” y “frontón sirio” u otros semejantes como “arco sirio”, “dintel arcuado”, “gablete sirio”, “frontón arcuado” y sus variantes. Trataremos cuestiones de forma y terminología, orígenes y difusión –con especial atención al problema planteado por Sî῾–, uso constructivo e iconográfico y su posible simbolismo. Nos detendremos en las ideas clave y la bibliografía fundamental para su discusión; asimismo, señalaremos algunos aspectos técnicos, funcionales y simbólicos que amplían el panorama planteado hasta ahora.

"Resumen: El cáliz “de san Segundo” atestigua cómo un mismo objeto puede aportar información sobre sus orígenes y sobre su trascendencia en la cultura material de un lugar y época que lo recibieron con posterioridad; desde las manos del platero Andrea Petrucci en la Siena del Trecento hasta su hallazgo en la ciudad de Ávila en 1519 y sus implicaciones en la construcción del mito de San Segundo.
Abstract: From the hands of the silversmith Andrea Petrucci in the Trecento Siena until its discovery in the city of Ávila in 1519 and its involvement in the construction of the myth of San Segundo, the chalice of “san Segundo” bears witness to how an object itself can provide information about its origins and about its significance to the material culture of a place and time that later on received it."

The aim of this 1st International Congress is to analyze the role of Roman Empire in Hispanic culture from Antiquity to Renaissance, focusing on Art and Archaeology. The relationship between Hispania and the rest of the Roman Empire, the classical legacy in medieval and modern Spain, the various visions of Rome and classicism through time, and its role in the construction of Modernity are some of the aspects that will be discussed.
Trajan, Hadrian, Theodosius, the Visigothic monarchy, the classical heritage in al-Andalus, the kingdom of Asturias, Alfonso VI, Alfonso VII the Emperor, Alfonso X the Wise, the Catholic Monarchs, and the meeting of cultures in America, are only a few of the possible themes studied at the congress, without discarding transverse readings. It will be an opportunity to review concepts such as Renaissance and renaissances, the role of Hispanic culture in the genesis of Modernity and the alternatives offered by this context in relation to other European proposals.

The Organization will admit papers for the four sections of the congress:

Section 1: The image of power through time.
Section 2: Classical Tradition and imperial myth.
Section 3: The antiquarian study between Spain, Italy and Europe.
Section 4: The plurality of the Hispaniae

Reflections on the Visigothic niches and niche-plaques and the Mosque of Cordoba based on their patterns in Late Antique visual culture and its implication on the architecture of power and the divine throne. Keywords: God’s throne in architecture, hetoimasia, Visigothic niche-plaques, mosque of Cordoba.
Resumen: reflexiones sobre los nichos y placas-nicho visigodos y la mezquita de Córdoba a partir de sus modelos en la cultura visual tardoantigua y sus implicaciones en la arquitectura del poder y el trono divino.
Palabras clave: trono de Dios en la arquitectura, hetoimasia, placas-nicho visigodas, mezquita de Córdoba.

One of the founders of numismatics in Modern Age was the archbishop of Tarragona and renowned jurist Antonio Agustín. He was educated during the mid-sixteenth century mainly in Italy, particularly in Bologna and Padua. His role in the development of antiquarian studies – and interest in collecting – ran parallel to the development of numismatics in the Cinquecento. His interest in realia, i.e., the materials and documents perceived as primary evidence of history understood in a global sense, make him a pioneer in setting the trends and ethodologies
which would be later employed by Bernard de Montfaucon. The period Antonio Agustín spent in Bologna, at the Reale Collegio di Spagna, between 1539 and 1544, afforded him the opportunity to enter a very cultivated circle where the admiration and study of the Antique was well established since the mid-fifteenth century. The cultural effervescence taking place in Bologna was encouraged by the court of Giovanni II Bentivoglio and the University alike. Artists also contributed to the development of antiquarian knowledge, and the painter Amico Aspertini (ca. 1475-1552) exemplifies this. It is clear that Antonio Agustín certainly benefited from the scholarly environment in Bologna during the first half of the Cinquecento, which had been firmly anchored since the fertile Quattrocento.
Although the documentary evidence is scarce, and it is difficult to pinpoint the details, it is undeniable that Antonio Agustín was heavily influenced by his Bolognese experience.

This article presents a panoramic view of the development of the so-called serliana or Serlian motif throughout the Italian Renaissance, focusing on the most relevant examples in the architecture of that period. The use of this motif during the Early Renaissance was pioneered by Filippo Brunelleschi in religious buildings. As its employment become widespread in a range of different settings, architects frequently incorporated local building traditions. It was only
during the last twenty years of the Quattrocento that Giuliano da Sangallo and Leonardo da Vinci adopted the Serlian arch in residential architecture designed for the ruling elites. Thanks to Bramante and other artists such as Raphael, Baldassare Peruzzi, Antonio da Sangallo the Younger and Giulio Romano, the motif was extraordinarily popular during the High Renaissance period. Ever-increasingly complex and monumental compositions eased the adaptation of the serliana to both exterior and interior spaces, and in works such as the design by Galeazzo Alessi in Genoa, the imperial connotation of the motif is clear. This process illustrates the progressive transfer from the religious to the courtly sphere, and, at the same time, the permeability between the sacred and the profane. During the sixteenth century, Spain too was
at the European avant-garde, due to its contacts with Italy and the latest fashions, such as the employment of the serliana in residential architecture, were followed in the fortified palace at La Calahorra, the Vich palace in Valencia, or the palace of Charles V in Granada, as part of a complex iconography of power. Throughout the sixteenth century, the serliana featured in that specifically-Spanish typology, the monumental altarpiece or retablo, as well as in monumental tombs.
Italy was certainly the leading force in the process and had an indisputable influence on Spanish art, but the latter would develop its own original solutions in the sixteenth century, which matched the innovative character of Italian creations.