Una iconografía de nuestro padre Jesús Nazareno en los orígenes de la Semana Santa: El Santo Cristo de los ajusticiados, la Catedral de Sevilla y el pintor Luis de Vargas. = An iconography of our father Jesus the Nazarene in the origins of Holy Week: The Holy Christ of the executed, the Cathedral of Seville and the painter Luis de Vargas
In 1561 the Sacramental Brotherhood of the Tabernacle of the Cathedral of Seville applied to the Calonges that the wall of the chapel that was in the stands were adorned, so the council commissioned the painter Luis de Vargas make a mural of Jesus on the Via Dolorosa. The work was premiered in 1563....
| Published in: | Isidorianum |
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| Subtitles: | An iconography of our father Jesus the Nazarene in the origins of Holy Week: The Holy Christ of the executed, the Cathedral of Seville and the painter Luis de Vargas |
| 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: |
Facultad de Teología San Isidoro de Sevilla
2014
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| In: |
Isidorianum
Year: 2014, Volume: 23, Issue: 46, Pages: 327-341 |
| Further subjects: | B
Luis de Vargas
B pintura manierista B Catedral de Sevilla |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | In 1561 the Sacramental Brotherhood of the Tabernacle of the Cathedral of Seville applied to the Calonges that the wall of the chapel that was in the stands were adorned, so the council commissioned the painter Luis de Vargas make a mural of Jesus on the Via Dolorosa. The work was premiered in 1563. The mural represents the Redeemer wearing a white robe, which is equal to the convicts who came by way of the gallows were dressed and carrying the cross upside down. The popularly called “Christ of the executed” is a clear street exponent of an altarpiece that much popular devotion expressed in Modern Spanish., 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. |
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| ISSN: | 2660-7743 |
| Contains: | Enthalten in: Isidorianum
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| Persistent identifiers: | DOI: 10.46543/ISID.1423.1054 |