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Miguel Ângelo Merisi de Caravaggio foi revolucionário na época em que viveu. A vitalidade
e a força que caracterizam a sua obra deram lugar a um novo estilo na arte dos fins do
século XVI e inícios do século XVII. Sob o título Um Deus que se deixa tocar – Leitura teológica
a partir de «A Incredulidade de São Tomé» de Caravaggio, a presente Dissertação coloca
a arte em diálogo com as verdades da fé, mediante a famosa pintura mencionada. O centro deste
estudo tem como ponto de partida o encontro visceral representado entre o Cristo ressuscitado
e o apóstolo Tomé. Trata-se de um encontro que tem no corpo de Cristo a sua mediação, não
só porque a partir d’Ele surge a iniciativa de um encontro, mas também porque n’Ele o apóstolo
descobre o sentido último da sua existência.
É a partir deste dinamismo dialógico que se situa a antropologia da fé que a Dissertação
desenvolve: Deus e homem partilham de um património comum –o corpo –, e à intervenção
primeira de Deus, o homem é convidado a uma resposta de adesão profunda que envolva toda
a sua vida.
Michelangelo Merisi da Caravaggio was a revolutionary artist of his time. The vigor and strength which characterizes his work introduced a new style in the art of the late sixteenth and early seventeenth centuries. This dissertation, titled A God who concedes to be touched – A Theological Reading of Caravaggio’s «The Incredulity of Saint Thomas» establishes a dialog between art and the truths of faith through the famous painting mentioned. The focus of this study is the visceral meeting between Christ resurrected and the apostle Thomas. It is an encounter which has the body of Christ as mediator, not only because through Him comes the initiative of encounter, but also because in Him the apostle finds the ultimate meaning of his existence. It is from this dynamism of dialogue that this dissertation develops its’ anthropology of faith: God and men share a common patrimony – the body – and to God’s first intervention man is invited to answer in a profound manner, which engages all of his life.
Michelangelo Merisi da Caravaggio was a revolutionary artist of his time. The vigor and strength which characterizes his work introduced a new style in the art of the late sixteenth and early seventeenth centuries. This dissertation, titled A God who concedes to be touched – A Theological Reading of Caravaggio’s «The Incredulity of Saint Thomas» establishes a dialog between art and the truths of faith through the famous painting mentioned. The focus of this study is the visceral meeting between Christ resurrected and the apostle Thomas. It is an encounter which has the body of Christ as mediator, not only because through Him comes the initiative of encounter, but also because in Him the apostle finds the ultimate meaning of his existence. It is from this dynamism of dialogue that this dissertation develops its’ anthropology of faith: God and men share a common patrimony – the body – and to God’s first intervention man is invited to answer in a profound manner, which engages all of his life.
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Keywords
Arte Caravaggio Corpo Deus Homem Incredulidade Art Body God Man Disbelief