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Abstract(s)
Esta tese desenvolve o estudo da arte da talha das capelas particulares
dos arciprestados de Lamego e Tarouca, por não existir, até hoje, um trabalho
que tenha investigado e divulgado, no seu todo, este património sacro particular
da região.
Apresenta-se o levantamento fotográfico e analisam-se os elementos
decorativos encontrados nos altares, bem como a sua estrutura, que conduz à
classificação dos retábulos por épocas e estilos, entre os séculos XVII a XIX. Este
estudo evidencia modelos que resultam da aplicação dos desenhos propostos
pelos tratados da arte da época, bem como a utilização, nos espaços
particulares, de soluções semelhantes à talha das igrejas.
Refere-se a liturgia saída das directivas do concílio de Trento e a sua
implementação na região, pela forma como tais factos atribuíram ao retábulo
uma importância fundamental no espaço sacro, que levou ao seu maior
desenvolvimento.
Descreve-se o contexto socioeconómico local, apontando o perfil das
famílias instituidoras das capelas particulares e as principais fontes de
rendimento de que dispunham, com destaque para o vinho de Lamego. O relevo
e clima do território, com reflexos na produção agrícola, decisivos nos
rendimentos dos administradores das capelas, mostram-se determinantes para a
localização e distribuição das capelas no terreno aqui mapeadas. O número
muito significativo de capelas erigidas na zona, revela o fervor religioso e por
conseguinte a importância que era posta na arte da talha por parte das gentes
locais. Referem-se as principais invocações encontradas e apontam-se causas
para tal. Aborda-se a instituição dos morgadios, que factores os regiam, os
pedidos ou motivos que os originavam, numa época em que o carácter religioso
se misturava com o nobiliárquico. A pintura e o azulejo das capelas, como artes complementares do
retábulo, desempenhando uma função que o valoriza, e porque também
revelaram obras inéditas, são aqui abordados, embora com menos pormenor.
This thesis develops the study of carving art in the private chapel of the archpriestships in Lamego and Tarouca because there have been no similar work till nowadays in this region. In our work we present the photo research and we study the decorative elements found in the altars, as well as their structure, concerning to the classification of the epoch and style of the retables, among the 17th and 19th centuries. Here we can also see some models inspired in the art treaties of the time, and the appliance in the private spaces of the same solutions as those in the carving of the churches. We also mention the laws from council of Trent and its implementation in the region. These facts brought to the altarpiece the primordial importance to the sacred space. This led to its bigger development. We also refer the local socio economic context, emphasizing the portrait of the chapels owners and their economic power, chiefly owing to the Vinho de Lamego. The climate and the landscape of this region, mainly in agriculture, were fundamental to the income of the families, and to the location of the chapels here placed in maps along this area. The high number of the chapels built here shows the faith and the importance of the carving art for those people. We refer the principal invocations found there and their causes. We mention the majorat establishment, its origins, its rules, when the religious character joined the noble one. Painting and tile in the chapels, as complementary arts of the retable, were a very important solution for its emphasis. Painting and tile are also mentioned here because they have not been shown before in studies of art history.
This thesis develops the study of carving art in the private chapel of the archpriestships in Lamego and Tarouca because there have been no similar work till nowadays in this region. In our work we present the photo research and we study the decorative elements found in the altars, as well as their structure, concerning to the classification of the epoch and style of the retables, among the 17th and 19th centuries. Here we can also see some models inspired in the art treaties of the time, and the appliance in the private spaces of the same solutions as those in the carving of the churches. We also mention the laws from council of Trent and its implementation in the region. These facts brought to the altarpiece the primordial importance to the sacred space. This led to its bigger development. We also refer the local socio economic context, emphasizing the portrait of the chapels owners and their economic power, chiefly owing to the Vinho de Lamego. The climate and the landscape of this region, mainly in agriculture, were fundamental to the income of the families, and to the location of the chapels here placed in maps along this area. The high number of the chapels built here shows the faith and the importance of the carving art for those people. We refer the principal invocations found there and their causes. We mention the majorat establishment, its origins, its rules, when the religious character joined the noble one. Painting and tile in the chapels, as complementary arts of the retable, were a very important solution for its emphasis. Painting and tile are also mentioned here because they have not been shown before in studies of art history.
Description
Keywords
Talha Retábulo Capelas particulares Morgadios Lamego Tarouca Concílio de Trento Azulejo Pintura Carving Retable Private chapels Majorat Council of Trent Tile Painting