abstract: Many religious textual accounts describe provocative women: The Great Whore from the Apocalypse, Saint Mary Magdalene from the New Testament, and the Daughters of Mara from the Buddhist tradition are all accused of fornication or the seduction of men. However, when artists have depicted these subjects, the women are rarely shown transgressing in the ways the texts describe. The Great Whore is often masculinized and shown as the equal of kings, Mary Magdalene assumes divergent attitudes about prostitution in early Renaissance Europe, and the Daughters of Mara are comparable to other Buddhist deities, recognizable only from the surrounding narrative. Therefore, in this inquiry, I seek out the ways that artists have manipulated misogynistic religious narratives and introduced their own fears, concerns, and interpretations. Artistic deviations from the text indicate a sensitivity to cultural values beyond the substance of their roles within the narrative. Both the Great Whore and her virtuous counterpart, the Woman Clothed in the Sun, have agency, and the ways they are shown to use their agency determines their moral status. Mary Magdalene, the patron saint of prostitutes and a reformed sinner, is shown with iconographical markers beyond just prostitution, and reveals the ways in which Renaissance artists conceptualized prostitution. In the last case study, the comparison between the Daughters and the Buddhist savioresses, the Taras, demonstrates that Himalayan artists did not completely subscribe to the textual formulations of women as inherently iniquitous. Ultimately, these works of art divulge not just interpretations of the religious traditions, but attitudes about women in general, and the power they wielded in their respective contexts. / Dissertation/Thesis / Masters Thesis Art History 2020

This paper will discuss the creation of my artwork, which has been inspired by my experiences and understandings of Catholicism and its icons. I will consider how iconography works in art, its influence, and how and why I have created this artwork dealing with my beliefs. I will also refer to the works of contemporary artists Duane Michals and Michael Wesely to help explain my exhibition, which I have titled "Doubting Thomas: The Testaments."

At the beginning of the viceregal era, the Certosa di San Martino, a Carthusian monastery of medieval foundation, experienced a resurgence that culminated in the rebuilding of its church starting in the late 1580s. The new church of the Neapolitan Certosa featured an innovative design and an extensive and complex decorative program that distinguished it from all other churches of the order. This dissertation examines the rebuilding of the church of the Certosa di San Martino as a process deeply rooted in the changing religious culture of the time and one that also reveals the tensions inherent to the redefinition of monastic identity in Post-Tridentine Spanish Naples. The development of the Carthusian project paralleled the institutional re-organization of the order, but it also assumed a unique trajectory aimed at highlighting the role of the white monks and contemplative spirituality in the production of sanctity in Naples. By tracing the evolution of the rebuilding initiative within its proper cultural, religious and social context, I clarify the goals of the patrons and the expectations placed on the artists, and I define the scope of the project according to new parameters of spiritual authority. The reconstruction of the rebuilding process relies on primary sources from the Neapolitan State Archives and on recent historical and archaeological research, in addition to comparative studies. This dissertation challenges the view of Post-Tridentine monastic architecture as a mere response to the new liturgical requirements and sides with more recent interpretations by seeing monastic sacred spaces as dynamic places of exchange, and their designs and decorations as expressions of the spiritual authority of the monastic body they house. The rebuilding of the church of the Certosa di San Martino stands as an important example of the process by which spiritual authority was produced and redirected in Spanish Naples. Since 1973, when the first and only monograph on the art of the Certosa di San Martino was published, studies have been sporadic and limited to the analysis of particular works contained in the church. I analyze the new architectural plan and decoration of the church as fundamentally bound to the transformation of Spanish Naples into a holy city. / Art History

Este estudo trata-se de uma etnografia sobre formas sagradas. O nosso campo empírico foi a cidade de Juazeiro do Norte, município situado no sul do Ceará, um dos maiores centros de romaria popular do Brasil, enfocando em particular a Ladeira do Horto, caminho velho que conduz à estátua do Padre Cícero. A partir de uma cooperação teórica entre os campos da etnomusicologia e da antropologia visual, realizamos uma reflexão sobre processos não narrativos de enunciação e produção de poder sagrado. A provocação empírica que move esta discussão foi identificada durante a nossa pesquisa de mestrado, concluída no ano de 2002, questão inicialmente circunscrita ao âmbito da significação musical. Percebemos, naquela época, que algumas músicas do repertório religioso tradicional, verdadeiros tesouros para os devotos mais idosos, eram rechaçadas pelos católicos modernos, sendo seu canto considerado um chamariz de infortúnios, prenúncio de má sorte. Retomada nesta pesquisa de doutorado, a velha provocação mostrou uma envergadura infinitamente maior, transcendendo o domínio sonoro e abrangendo todo um conjunto de expressividades relacionadas a uma prática devocional voltada para o cultivo da penitência como principal preceito religioso na economia de salvação das almas. Esta pesquisa procura mostrar como foi possível a esses devotos idosos preservarem a sua identidade penitencial sem prejuízo do sentimento de unidade religiosa com a Igreja Católica, cuja orientação doutrinária atual constrange as práticas devocionais centradas no exercício da penitência e da mortificação do corpo. Alvitramos a existência de uma doutrina penitencial apócrifa que apesar de não ser propalada nos discursos sobre religião está consignada no repertório musical dos antigos benditos, nos altares domésticos e na corporeidade das velhas beatas, instâncias que elaboram um espaço estético de plausibilidade capaz de legitimar o valor sagrado da penitência e de preservar nos devotos a convicção sobre obediência e unidade católica. / This study is an ethnography regarding sacred forms. Our empirical field was the city of Juazeiro do Norte, which is located in the south of Ceará, one of the biggest centers of popular pilgrimage in Brazil, emphasizing the old path that leads to the statue of Padre Cícero called Ladeira do Horto. By means of a theoretical cooperation between the fields of ethnomusicology and visual anthropology, we carried out a reflection on non-narrative processes of enunciation and production of sacred power. The empirical provocation that guides this discussion was identified during our previous research for the masters degree back in 2002. At that time, the point of the study was musical significance, and we realized that some songs of the traditional religious repertoire, considered to be real treasures for the older devotees, were refused by the modern catholics, since they were thought to attract bad things. The old provocation resumed on this doctoral research has shown a wider scope, transcending the sound domain and incorporating now a number of means of expression related to a devotional practice that considers penitence as the main religious rule on the economy of salvation of the souls. This research aims to show how it was possible for these old devotees to preserve their penitential identity without any loss as to the feeling of religious unity with the Catholic Church, whose doctrinaire orientation nowadays reproves the devotional practices based on penitence and mortification of the body. We suggest the existence of an apocryphal penitential doctrine that, in spite of not being mentioned on religious speeches, is present on the musical repertoire of the old benditos, as well as in the home altars and on the corporeal image of the old beatas, instances that create an aesthetic space of plausibility that is able to legitimate the sacred value of penitence and preserve on the devotees the conviction regarding obedience and catholic unity.

Made available in DSpace on 2016-08-10T10:34:46Z (GMT). No. of bitstreams: 1 ANTONIO CARLOS DE OLIVEIRA.pdf: 40525946 bytes, checksum: 7856d9a7d96da8b55828b12ef6baa8d7 (MD5) Previous issue date: 2012-12-13 / Among the topics involving art, the question of artistic production, valued and secreted in Catholic churches has been studied by various art professionals and related fields. Among the many issues discussed was realized that art appreciation is caused by its location, ie, the more perceived by the public, greater the understanding of the message that the artist sought to convey. Being the art market the controller of the value of an artistic work, very often the access to art works becomes restricted to a few observers. This way, for most of the people, the appreciation of an artwork with authentic quality becomes inaccessible. From this issue, this study analyzed the creative process of religious artworks performed on the panels visible on the walls of the temple belonging to the Catholic Parish St. John the Evangelist, located at the University Square, in Goiania-GO, available to the public appreciation . In that temple is exposed the artwork produced by painter George Wilson, a painter who gathers the recognition of this community. Thereafter, it was emphasized the analysis of the main panels, such as the figure of Jesus Christ at the moment of the "Transfiguration" and the image of the Apostle "Saint John the Evangelist". For the accomplishment of this analysis, it was used the researches in books that deal with this subject, written by renowned researchers, the testimony of the painter, photographs and field visits. Based on the data and information collected, it was possible to reveal the iconography and iconology existing behind those panels. This study revealed the main aspects of the artistic work of religious art produced by artist, this work, which has specific goal, ie the religious orientation directed to all visitors of that space. / Entre os temas que envolvem a arte, a questão da produção artística, valorizada e segregada nos templos católicos tem sido objeto de estudo de vários profissionais da arte e áreas afins. Entre as varias questões analisadas percebeu-se que a valorização da arte é ocasionada pela sua localização, isto é, quanto mais percebida pelo público, maior o entendimento da mensagem que o artista procurou transmitir. Sendo o mercado da arte o controlador do valor de uma obra artística, muitas vezes o acesso à arte torna-se restrito a poucos observadores. Ficando assim, para a maioria do público inacessível a apreciação de um trabalho artístico autêntico e de qualidade. A partir dessa problemática, o presente trabalho analisou o processo criativo das obras religiosas realizadas nos painéis visíveis nas paredes do templo católico pertencente à Paróquia São João Evangelista, situado na Praça Universitária, na cidade de Goiânia, Go, visível para apreciação do público em geral, neste templo está exposto o trabalho artístico produzido pelo pintor goiano Wilson Jorge. Assim sendo, enfatizou-se a análise dos principais painéis, tais como: a figura de Jesus Cristo no momento da Transfiguração e a imagem do apóstolo São João Evangelista . Para a realização desta análise, recorreu-se a pesquisa em livros que abordam essa temática, escritos por pesquisadores renomados, depoimento do pintor, fotografias e visita a campo. A partir dos dados e informações levantadas, foi possível revelar a iconografia e a iconologia existentes nos referidos painéis. Esse estudo revelou os principais aspectos artísticos da obra de arte religiosa produzida pelo artista, trabalho este, que possui objetivo específico, isto é, a orientação religiosa direcionada para todos os frequentadores desse espaço.

Made available in DSpace on 2016-12-23T14:09:37Z (GMT). No. of bitstreams: 1 Marcio lourenco Garcia.pdf: 625641 bytes, checksum: f15317f0972aa358195a532cd754706d (MD5) Previous issue date: 2013-02-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A tragédia grega, no esquema hegeliano, é situada como um sinal eloquente do momento final da religião da arte, pois, é nessa etapa que se efetua um doloroso cisma entre as leis do Estado e as leis da família. Então, na tragédia, a necessidade do conceito, ainda inconsciente-de-si, se aproxima do conteúdo de vida do destino do herói trágico, assim como a linguagem do aedo deixa de ser impessoal (como na epopéia) e participa ativamente desse conteúdo como ator. Este participa ativamente do drama e interfere no mesmo, sua linguagem denota o pathos do herói. A tragédia antiga começa, pois, a realizar a unidade dos deuses tão reclamada pelos filósofos da antiguidade, e irá desembocar na comédia onde se processará a absolutização do Si e a passagem da consciência feliz para a consciência infeliz. A progressiva manifestação do Espírito pode ser traduzida pelo movimento de saída da substância imediata, visto na religião da arte, que suprassume os momentos da obra-de-arte abstracta e da obra-de-arte vivente, a resultar na obra-de-arte espiritual. Esse movimento consiste no sair da substância em direção ao Si, pois, este reivindica o reconhecimento da sua singularidade pelo coletivo. Ademais, o Si criador da singularidade na religião da arte e no desembocar da tragédia, é instrumento para o autoconhecimento do Espírito, em seus momentos, no tempo, porquanto, sua consciência-de-si revela-se a si mesma mediante as potências universais ofendidas e que reclamam vingança, pois tal religião da arte é como que um espelho do conteúdo do Espírito. Este conteúdo efetivamente presente é, pois, em-si, uma coisa, e, para a consciência, outra. O direito de cima e o de baixo recebem a significação de que o primeiro representa a potência que sabe e que se manifesta à consciência, e, o segundo toma a significação da potência que se subtrai à consciência e se esconde no mundo subterrâneo das Erínias. Esta mesma religião da arte também aguça o espírito e faz alçar a imaginação e a fantasia de todos os espectadores até às alturas da consideração de sua peculiar vida na cidade, do direito humano e do direito divino um sendo o caráter feminino, e o outro, o masculino no caudal da necessidade lógica e que é o próprio destino do Espírito total. A tragédia mostra para a consciência-de-si que não há existência que não seja já de per si cindida e que tal oposição vem a ser o máximo bem de toda a unidade do Espírito / The Greek tragedy, in the Hegelian scheme, is situated as an eloquent sign of the final moment of the religion of art, then, is this step that takes place a painful schism between the state law and the family law. Then, in the tragedy, the need of the concept, still unconscious-of-itself, approaches the content of the life of the tragic hero s fate, as well as the language of minstrel ceases to be impersonal (as in epic) and actively participates in this content as actor. He actively participates in the drama and can interfere in the drama, its language indicates the pain of the hero. The ancient tragedy begins, then, to realize the unity of the gods as claimed by the philosophers of antiquity, and will culminate in a comedy in which happens the process of the absolutism of the Self and the passage of the happy consciousness for the unhappy consciousness. The progressive manifestation of the Spirit can be translated by the movement of get out of immediate substance, viewed in the religion of art, which supersedes the moments of the abstract work of art and of the living work of art, resulting in the spiritual work of art. This movement means the output of the substance for himself, because it claims the recognition of their uniqueness by the collective. Moreover, the Self is the creator of the singularity in the religion of art and, in the development of tragedy, is tool for self-knowledge of the Spirit in its moments, in the time, because his self-consciousness reveals itself through the universal powers offended and to seek revenge, because such a religion of art is like the mirror of the Spirit. This content is actually present, therefore, in itself, is a thing, and to the consciousness another. The right upper and the lower receive the significance that the first represents the power that knows, which manifests itself to consciousness, and, the second takes the meaning of power that escapes the consciousness and hides in the underworld of the Erinyes. This same religion of art sharpens the mind and imagination of all spectators to get up a flight to the heights of the consideration of his life in the city, the human and divine right - the first one as the female character, and, the second, the male - in the flow of logical necessity and that is the fate of total Spirit: the tragedy shows that there is no existence that is not already divided in itself and that this opposition is to the highest good of all the unity of the Spirit

The purpose of this project is to explore the historical image of Hell in Medieval Europe as an agent of socialization for illiterate Christian communities. The project focuses on a literary work, Tundale’s Vision, written in 1149 C.E in Cashel, Ireland. Tundale’s Vision came from a genre of vision literature derived from popular oracular folk tradition surrounding the image of Hell that served the purpose of socializing Christian communities to certain social norms and stigmas presented by the author. Vision literature would be used by preachers in vernacular sermons throughout the Medieval period in order to reinforce moral and social messages presented in to their congregations, and it drew much of its themes and imagery from folk traditions in order to be more relatable to local communities. This research provides a historical context from which this genre of literature emerged including a discourse on how it gained power as an agent of socialization in Medieval Europe. Time is devoted to the historical state of what are generally considered primary agents of socialization in human societies throughout Medieval Europe, and research reveals that much of these agents, aside from religion, were inaccessible to the majority of Medieval Europeans, especially those of the lower class. Additionally, this project provides information on the rise in popularity of the artistic image of Hell in the Medieval period. The analysis of Tundale’s Vision, a work that emerged from this environment saturated with artistic depictions of Hell, reconstructs potential social norms and stigmas of 12th century Ireland relating to a contemporary reform movement within the Irish Christian church. This analysis provides the historical origin of many images commonly associated with the popular Medieval conception of Hell as it appears in Tundale’s Vision, and it analyzes the use of the fear of a painful afterlife in order spread and reinforce ideals presented by the Christian Church. Much of this project draws from the scholarly works of Gwenfair Adams and John Seymour who produced research concerning Tundale’s Vision, other works of vision literature, and their impact on Medieval Christian communities. The power of religious artwork in the process of socialization in Medieval Ireland should become apparent throughout this work.

Este estudo trata-se de uma etnografia sobre formas sagradas. O nosso campo empírico foi a cidade de Juazeiro do Norte, município situado no sul do Ceará, um dos maiores centros de romaria popular do Brasil, enfocando em particular a Ladeira do Horto, caminho velho que conduz à estátua do Padre Cícero. A partir de uma cooperação teórica entre os campos da etnomusicologia e da antropologia visual, realizamos uma reflexão sobre processos não narrativos de enunciação e produção de poder sagrado. A provocação empírica que move esta discussão foi identificada durante a nossa pesquisa de mestrado, concluída no ano de 2002, questão inicialmente circunscrita ao âmbito da significação musical. Percebemos, naquela época, que algumas músicas do repertório religioso tradicional, verdadeiros tesouros para os devotos mais idosos, eram rechaçadas pelos católicos modernos, sendo seu canto considerado um chamariz de infortúnios, prenúncio de má sorte. Retomada nesta pesquisa de doutorado, a velha provocação mostrou uma envergadura infinitamente maior, transcendendo o domínio sonoro e abrangendo todo um conjunto de expressividades relacionadas a uma prática devocional voltada para o cultivo da penitência como principal preceito religioso na economia de salvação das almas. Esta pesquisa procura mostrar como foi possível a esses devotos idosos preservarem a sua identidade penitencial sem prejuízo do sentimento de unidade religiosa com a Igreja Católica, cuja orientação doutrinária atual constrange as práticas devocionais centradas no exercício da penitência e da mortificação do corpo. Alvitramos a existência de uma doutrina penitencial apócrifa que apesar de não ser propalada nos discursos sobre religião está consignada no repertório musical dos antigos benditos, nos altares domésticos e na corporeidade das velhas beatas, instâncias que elaboram um espaço estético de plausibilidade capaz de legitimar o valor sagrado da penitência e de preservar nos devotos a convicção sobre obediência e unidade católica. / This study is an ethnography regarding sacred forms. Our empirical field was the city of Juazeiro do Norte, which is located in the south of Ceará, one of the biggest centers of popular pilgrimage in Brazil, emphasizing the old path that leads to the statue of Padre Cícero called Ladeira do Horto. By means of a theoretical cooperation between the fields of ethnomusicology and visual anthropology, we carried out a reflection on non-narrative processes of enunciation and production of sacred power. The empirical provocation that guides this discussion was identified during our previous research for the masters degree back in 2002. At that time, the point of the study was musical significance, and we realized that some songs of the traditional religious repertoire, considered to be real treasures for the older devotees, were refused by the modern catholics, since they were thought to attract bad things. The old provocation resumed on this doctoral research has shown a wider scope, transcending the sound domain and incorporating now a number of means of expression related to a devotional practice that considers penitence as the main religious rule on the economy of salvation of the souls. This research aims to show how it was possible for these old devotees to preserve their penitential identity without any loss as to the feeling of religious unity with the Catholic Church, whose doctrinaire orientation nowadays reproves the devotional practices based on penitence and mortification of the body. We suggest the existence of an apocryphal penitential doctrine that, in spite of not being mentioned on religious speeches, is present on the musical repertoire of the old benditos, as well as in the home altars and on the corporeal image of the old beatas, instances that create an aesthetic space of plausibility that is able to legitimate the sacred value of penitence and preserve on the devotees the conviction regarding obedience and catholic unity.

Au moment où se poursuit l’établissement des princes de l’Église dans la campagne romaine par la construction de somptueuses villas, le Concile de Trente (1545-1563) adopte une série de décrets qui entendent réaffirmer les dogmes catholiques et réformer les mœurs du clergé, critiqués par les protestants. Puisque la villa est perçue au 16e siècle comme un lieu où le fidèle peut faire l’expérience d’une retraite spirituelle, ce mémoire souhaite lever le voile sur les pratiques dévotionnelles suburbaines post-tridentines. Pour ce faire, les cycles picturaux de trois chapelles de villas romaines dont la décoration a été réalisée à la suite de cet important concile sont examinés : la chapelle du palazzo Farnese à Caprarola, appartenant au cardinal Alessandro Farnese (1520-1589), la chapelle de la villa d’Este à Tivoli, construite pour le cardinal Ippolito II d’Este (1509-1572), et la chapelle de la villa Mondragone à Frascati, commanditée par le cardinal Marco Sittico Altemps (1533-1595) pour le pape Grégoire XIII (1502-1585). Il s’agit de vérifier l’impact des pratiques dévotionnelles sur le choix des décors dans ces lieux de culte privés. S’attarder à la perception du regardeur de l’époque et au rapport spirituel du public à l’image implique que nous analysions notre corpus à l’aide d’un cadre anthropologique. / The taste for countryside palaces among the Princes of the Church was already well established when the Council of Trent (1545-1563) moved to counter the protestant Reformation. This council asserted catholic dogmas and significantly reformed clerical mores. In this context, villas are seen as the perfect stage to realize spiritual ambitions. This thesis thus studies extra-urban devotional practices by examining three chapels in countryside palaces around Rome decorated after the Council of Trent: Cardinal Alessandro Farnese’s (1520-1589) chapel in his villa at Caprarola; the Villa d’Este chapel at Tivoli built for Cardinal Ippolito II d’Este (1509-1572); and the Villa Mondragone chapel at Frascati, ordered by Cardinal Marco Sittico Altemps (1533-1595) for Pope Gregory XIII (1502-1585). We seek to examine the influence of contemporary devotional practices on the iconographic cycles in the private sphere. The public’s perception and spiritual response to the frescoes will be probed through an anthropological approach to images.

Este trabalho propõe-se a delinear o processo histórico da arte religiosa na arte moderna no Brasil, enfocando a produção de Candido Portinari (1903-1962) como representante da segunda fase do Movimento Modernista Brasileiro, ao qual aderiu de modo definitivo depois de sua primeira viagem à Europa (1928-1930), apesar de não ter participado diretamente da famosa Semana de 1922. Em primeiro lugar, são relatados os principais fatos da vida do artista, que servem de parâmetro para uma interpretação da cena artística da época. São muitas as polêmicas em que ele esteve envolvido, sendo acusado de ser uma espécie de pintor oficial durante o Governo Vargas e de receber influências explícitas dos muralistas mexicanos e de Pablo Picasso; mas o que nos interessa mais de perto é o fato de ter sido membro efetivo do Partido Comunista e declarar-se ateu, ao mesmo tempo em que era capaz de realizar uma arte religiosa tão sublime. Destacamos também sua capacidade de estabelecer um frutífero diálogo entre o tema religioso e o social. Como comprovação disso tudo são analisadas as principais obras de arte religiosa de sua autoria, tais como as pinturas da Capela da Nonna, em Brodowski, os murais da Igreja da Pampulha, em Belo Horizonte e da Matriz de Batatais, na cidade paulista de Batatais, as obras da Capela Mayrink, no Rio de Janeiro, e a Série Bíblica, na Rádio Tupi de São Paulo, dentre outras. / The research work proposes to delineate the historical process of religious art in modern art in Brazil, focusing on the production of Candido Portinari (1903-1962) as representative of the second phase of the Brazilian Modernist movement, to which he definitively adhered after his first voyage to Europe (1928-1930), although he did not participate in the famous Week of 1922. Firstly, the main facts of the artist\'s life are described, which serve as parameters for an interpretation of the artistic scene of the time. There are many controversies in which he was involved, being accused of serving as a kind of \"official painter\" during the Vargas government and of receiving explicit influences of Mexican muralists and Pablo Picasso; but what interests us more closely is the fact that he was a member of the Communist Party and declared himself an atheist at the same time that he was capable of producing such a superbe religious art. We also emphasize his ability to establish a fruitfull dialogue between the religious and social issues. As proof of this all, the main religious works of Portinari are analyzed, such as the paintings of Capela da Nonna in Brodowski, the murals of Pampulha Church in Belo Horizonte and the Matriz de Batatais, in Batatais, São Paulo, besides works of the Mayrink Chapel in Rio de Janeiro and a Biblic Series from Rádio Tupi in São Paulo, among others.