L'Església i la sinagoga als murals romànics d'Abu Gosh (Emmaús) i de Sixena
In the Romanesque frescoes at Abu Gosh (Emmaus) in Palestine and at Sigena in the territory of the Crown of Aragon, there appears an extraordinary iconographic model, since it represents the church and the synagogue next to the crucified Christ. Both Abu Gosh and Sigena were monastic communities of...
| Autor principal: | |
|---|---|
| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Catalán |
| Verificar disponibilidad: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado: |
2019
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| En: |
Miscel·lània litúrgica catalana
Año: 2019, Volumen: 27, Páginas: 269-295 |
| Acceso en línea: |
Volltext (kostenfrei) |
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| 520 | |a In the Romanesque frescoes at Abu Gosh (Emmaus) in Palestine and at Sigena in the territory of the Crown of Aragon, there appears an extraordinary iconographic model, since it represents the church and the synagogue next to the crucified Christ. Both Abu Gosh and Sigena were monastic communities of the Order of Knights of the Hospital of Saint John of Jerusalem, built at the apogee of the order's power. These two paintings, which are stylistically quite similar, date from the last quarter of the 12th century those of Abu Gosh from before 1187 and those of Sigena from around 1196. This study focuses on the origins, use and expansion of the subject, and on its singular but identical depiction in the two monastic houses. | ||
| 520 | |a Als frescos romànics d'Abu Gosh (Emmaús), a Palestina, i de Sixena, en terres de la Corona catalanoaragonesa, hi apareix un model iconogràfic extraordinari per representar l'Església i la Sinagoga devora el Crucificat. Tots dos monestirs, Abu Gosh i Sixena, estaven vinculats a l'orde de l'Hospital de Sant Joan de Jerusalem, i foren erigits en un i altre territori en moments d'esplendor. Molt pròximes estilísticament, unes i altres pintures són del darrer quart del segle XII. Les d'Abu Gosh anteriors al 1187 i les de Sixena plasmades vers el 1196. En aquest estudi aprofundirem en els orígens, ús i expansió del tema i en la singular i idèntica versió representada en aquests dos llocs. | ||
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