Interpreting Visuality in the Middle Ages: The Iconographic Paradigm of the Refectory of the Monastery of San Salvador de Oña
The research area of the interaction between religion, politics, and medieval Hispanic art has been pioneering and at the cutting edge of contemporary historiography in recent years. The deployment of iconographic and calligraphic motifs in medieval religious spaces has been identified as a key mean...
| Authors: | ; |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2024
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| In: |
Religions
Year: 2024, Volume: 15, Issue: 9 |
| Further subjects: | B
Henry II
B monastery of San Salvador de Oña B Iconography B Kufic calligraphy B Last Supper B material analysis B Peter I B refectory B Trastamara Dynasty |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
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| 520 | |a The research area of the interaction between religion, politics, and medieval Hispanic art has been pioneering and at the cutting edge of contemporary historiography in recent years. The deployment of iconographic and calligraphic motifs in medieval religious spaces has been identified as a key means of propagating legitimating messages of power and disseminating Christian doctrines. This interdisciplinary study proposes an analysis of the artistic vestiges present in the refectory of the Monastery of San Salvador de Oña (Burgos), with a view to establishing their decorative evolution during the 14th century and their symbolic significance. In order to establish a chronological proposal for the remains, the historical, artistic, and architectural contexts of the monastery are analyzed. This is complemented by a study of materials and techniques and a symbolic and iconographic analysis of the signs of power and evangelical concepts from the time of Peter I until the transition to the Trastámara dynasty. In this way, a cross-disciplinary investigation is proposed, with the aim of elucidating how a sacred artistic work situated within a secular context can serve multiple purposes of political and religious legitimation through the adaptation of its iconography over time. | ||
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