Los rostros de Mengore: Antropología teológica desde el via crucis de Marko I. Rupnik
El arte de Marko I. Rupnik, uno de los principales artistas al servicio de la Iglesia, no resulta a primera vista asombroso. No es un arte para admirar, sino un arte de la presencia, capaz de poner en diálogo el arte paleocristiano y bizantino con el lenguaje de las vanguardias. Esta investigación s...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | Spanish |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
[publisher not identified]
[2020]
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| In: |
Estudios eclesiásticos
Year: 2020, Volume: 95, Issue: 374, Pages: 603-630 |
| IxTheo Classification: | CE Christian art KDB Roman Catholic Church |
| Further subjects: | B
máscara
B rostro B mosaico B vía crucis B ojos B Marko Ivan Rupnik |
| Online Access: |
Volltext (doi) Volltext (kostenfrei) |
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| 520 | |a El arte de Marko I. Rupnik, uno de los principales artistas al servicio de la Iglesia, no resulta a primera vista asombroso. No es un arte para admirar, sino un arte de la presencia, capaz de poner en diálogo el arte paleocristiano y bizantino con el lenguaje de las vanguardias. Esta investigación se centra en las connotaciones teológicas y antropológicas que se pueden extraer del vía crucis que realizó en 2008, en su Eslovenia natal; unos mosaicos formados exclusivamente por rostros, en los que unos grandes ojos, más allá de interpelar al peregrino, le hablan de la constitución más profunda del ser humano y de la vocación a la que está llamado. | ||
| 520 | |a The art of Marko I. Rupnik, one of the foremost artists at the service of the Catholic Church, does not strike the viewer at first sight. It is not an art to be admired, but an art of the presence. He is able to link early Christian and Byzantine art with the language of avant-garde artists. This article focuses on the theological and anthropological implications of the way of the cross he made in 2008 in his native Slovenia. The mosaics, used exclusively to represent wide-eyed faces, do not only call the attention of pilgrims, but also tell them about what lies deep inside every human being, as well as about the vocation to which all men are called. | ||
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