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Advisor(s)
Abstract(s)
A historiografia do românico revela-se tardia a individualizar o movimento
artístico. No entanto, a partir do século XIX a produção bibliográfica foi cada vez mais
intensa. Olhamos para o passado recente e encontramos estudos que valorizam não só a
arquitetura mas também a escultura, a ourivesaria, e a iluminura. O século XX interveio
nos monumentos de uma forma tão profunda que lhes devolveu uma unidade estilística
que, alguns, nunca tiveram.
Situado na Idade das Trevas, este movimento vai construir numa vaga que muitos
vão equiparar ao investimento barroco. As suas raízes prerromânicas ainda hoje têm
contornos difíceis de precisar.
A estética tem contornos intelectuais que se prendem com a influência cristã. O
belo é caraterístico do transcendente que Cluny vai expandir num design que lhe dará
um caráter internacional, apesar de se ir regionalizando. A escultura, agora conquistada,
emergirá da arquitetura.
É uma plástica que iremos encontrar no Vale do Sousa, devidamente assimilada e
digerida regionalmente que se testemunha, ainda hoje, em mosteiros, igrejas, ermidas,
memoriais, torres e pontes.
The historiography of the Romanesque reveals itself late in individualizing the artistic movement. However, since the 19th century, the bibliographical production has been more and more intense. We look at the recent past and find studies that value not only architecture but also sculpture, goldsmithery, and illuminated manuscripts. The 20th century intervened in monuments in such a profound way that it gave them back a stylistic unity that some never had. Situated in the Dark Ages, this movement will build in a way that many will equate to baroque investment. Its pre-romanesque art roots still have difficult outlines to determine. Aesthetics has intellectual contours that are linked to the Christian influence. The beauty is a characteristic of the transcendent that Cluny will expand in a design that will give it an international character, despite being regionalized. The sculpture, now conquered, will emerge from architecture. It is a plastic that we will find in Vale do Sousa, properly assimilated and regionally digested, which is still witnessed today in monasteries, churches, hermitages, memorials, towers and bridges.
The historiography of the Romanesque reveals itself late in individualizing the artistic movement. However, since the 19th century, the bibliographical production has been more and more intense. We look at the recent past and find studies that value not only architecture but also sculpture, goldsmithery, and illuminated manuscripts. The 20th century intervened in monuments in such a profound way that it gave them back a stylistic unity that some never had. Situated in the Dark Ages, this movement will build in a way that many will equate to baroque investment. Its pre-romanesque art roots still have difficult outlines to determine. Aesthetics has intellectual contours that are linked to the Christian influence. The beauty is a characteristic of the transcendent that Cluny will expand in a design that will give it an international character, despite being regionalized. The sculpture, now conquered, will emerge from architecture. It is a plastic that we will find in Vale do Sousa, properly assimilated and regionally digested, which is still witnessed today in monasteries, churches, hermitages, memorials, towers and bridges.
Description
Keywords
Românico Vale do Sousa Arte Religiosa Estética Teologia Romanesque Sousa Valley Religious Art Aesthetics Theology