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Abstract(s)
A pintura de altar surge, em Portugal, no final do século XVII, salvo a existência de precedentes
que estiveram, possivelmente, na origem deste tipo de pintura. Com especial carácter
pedagógico na Igreja, divulga a Palavra de Deus de forma mais dinâmica do que o habitual no
ritual litúrgico. Os panos de altar narram histórias, estando na sua origem expostos grande
parte do ano litúrgico e, consoante a pretensão cénica, eram apresentados ou simplesmente
recolhidos através do sistema que os movia.
A presente investigação surge no âmbito do estudo científico-analítico e da intervenção de
Conservação e Restauro de uma tela altar, de rolo, pertencente à Igreja Paroquial de S. Pedro
de Miragaia. Num segundo momento, a temática abrange uma análise mais ampla do
panorama e da conservação das telas de rolo existentes em Portugal, nomeadamente o seu
enquadramento histórico e litúrgico, salientando a originalidade e dinamismo que
introduziram nas igrejas e capelas portuguesas, bem como um breve inventário das pinturas
identificadas a nível nacional, onde se relacionam algumas particularidades, entre elas, os
diferentes sistemas de montagem e fixação e as condições de utilização.
The altar painting arises in Portugal in the late of seventeenth century, except some precedents that were possibly the source of this type of painting. With a special pedagogic character, it announces the word of God more dynamically than usually in liturgical rite. They tell stories that are exposed in the liturgical year and, depending on scenic claims, were presented or simply collected throw the system that they were moved. This research comes under a scientific-analytical study and the Conservation and Restoration of a roller canvas, belonging to the São Pedro de Miragaia Church. Secondly, the theme covers a broader analysis of the landscape and conservation of roller canvas in Portugal, including their historical and liturgical framework, stressing the originality and dynamism introduced in Portuguese churches and chapels, as well as a brief inventory paintings identified at national level, where they relate some particulars, including the different mounting and setting systems and conditions of use.
The altar painting arises in Portugal in the late of seventeenth century, except some precedents that were possibly the source of this type of painting. With a special pedagogic character, it announces the word of God more dynamically than usually in liturgical rite. They tell stories that are exposed in the liturgical year and, depending on scenic claims, were presented or simply collected throw the system that they were moved. This research comes under a scientific-analytical study and the Conservation and Restoration of a roller canvas, belonging to the São Pedro de Miragaia Church. Secondly, the theme covers a broader analysis of the landscape and conservation of roller canvas in Portugal, including their historical and liturgical framework, stressing the originality and dynamism introduced in Portuguese churches and chapels, as well as a brief inventory paintings identified at national level, where they relate some particulars, including the different mounting and setting systems and conditions of use.
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Keywords
Pintura de altar Telas de rolo Conservação e restauro Crucificação Igreja de São Pedro de Miragaia Altar painting Roller canvas Conservation and restoration Crucifixion São Pedro de Miragaia Church