Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

RESUMEN:El objetivo de este trabajo es el estudio de las representaciones de matrimonios en la miniatura hispana del siglo XII. La mayoría de estas imágenes representan a los reyes y sus esposas y aparecen casi exclusivamente en los cartularios de la época. En este sentido destacan dos de ellos, el Libro de las Testamentos  de la catedral de Oviedo compuesto por iniciativa del obispo Pelayo h.1120 y Liber Feudorum Maior realizado bajo los auspicios del rey Alfonso II de Aragón a fines del siglo. Se analizan los diversos factores que motivaron la inserción de estos retratos y sus peculiaridades artísticas que incluyen sus fuentes de inspiración, su variada tipología y su impacto posterior.PALABRAS CLAVE: Matrimonio, pareja real, Libro de los Testamentos de la catedral de Oviedo, Liber Feudorum Maior, miniatura, románico, siglo XII.ABSTRACT:The mayority of miniature representations of marriage in twelfth century Hispania are of kings and their spouses, and appear almost exclusively in chartularies.Two of them are of particular interest: The Libro de los Testamentos,in the Oviedo cathedral, an iniciative of Bishop Pelayo(circa 1120), and the Liber Feudorum Maior, a work under the auspices of king Alfonso II de Aragón at the end of the century.This study analyses several factors that motivated such insertion of these royal portraits as well as their sources of inspiration, rich typology, and subsequent impact.KEY WORDS: Marriage, royal couple,Libro de los Testamentos de la catedral de Oviedo, Liber Feudorum Maior, miniature, Romanesque art,twelfth century.           

Los santos ermitaños de Puebla, México, pertenecen a una serie de trece lienzos basados en los grabados flamencos de Maarten de Vos y en temas derivados de la Vida Antonii. Estas escenas caracterizadas por entornos boscosos, muestran a los anacoretas organizados en lauras y a otros en estricta penitencia, propia del monacato primitivo. La comparación de estas obras con las biografías facilitó la lectura iconológica y la identificación de las incorporaciones y omisiones pictóricas. Sin embargo, en la manufactura se observan dos grupos  estilísticos y cuadros intervenidos por varios autores, uno de los cuales corresponde a Diego de Borgraf.

RIASSUNTO: Questo contributo analizza un metodo cognitivo per i “motivi erranti della regalità” e discerne dello sviluppo dell’immagine della regalità nell’area mediterranea. Si vogliono annoverare i soggetti-base della regalità bizantina come quei codici iconografici ed ideologici che passano da una cultura all’altra e sopravvivono sostanzialmente inalterati. In questo modo, si approfondiscono le strategie di comunicazione che modellano le concrete immagini del re di Sicilia. Così si intravvede un nuovo orizzonte iconografico e retorico che adatta i soggetti base a particolari requisiti. Parole chiave: “motivi erranti della regalità”; a Deo coronatus; iconografia regia; retorica del potere; Regno di Sicilia.ABSTRACT: This contribution analyzes a cognitive methodology for the “wandering motive of royalty” and penetrates the development of kingship’s image in Mediterranean area. It recognizes the basic-subjects of Byzantine kingship as a iconographic and iedological codes, these pass through cultures and survive substantially unchanged. In this way, it scrutinizes communication’s strategies, that model concrete icons of king of Sicily. So can be seen a new iconography and rhetorical horizon, that adapts basic subjects into particularly requirements. Key words: “wandering motive of royalty”; a Deo coronatus; royal iconography; rhetoric of power; Sicily Kingdom. RESUMEN: Este trabajo analiza un método cognitivo para los “motivos errantes de la realeza” y discierne el desarrollo de la imagen de la realeza en el Mediterráneo. El reconoce los temas básicos de la realeza bizantina como aquellos códigos iconográficos y ideológicos que pasan de una cultura a otra y sobreviven sustancialmente inalterados. De esta manera se puede profundizar las estrategias de comunicación, que modelan las imágenes concretas del rey de Sicilia. Así podemos visualizar un nuevo horizonte iconográfico y retórico, que adapta los temas básicos a los particulares requisitos. Palabras clave: “motivos errantes de la realeza”; a Deo coronatus; iconografía de la realeza; retórica del poder; Reino de Sicilia.

El tema de la promoción personal presente en las relaciones festivas es uno de los que ofrecen mayor riqueza por su diversidad de manifestaciones. Su forma clásica es la típica exaltación personal del estatus, la riqueza y la lealtad a la corona de destacados personajes que se involucran directamente en la organización y ejecución del festejo. La Relación individual de las fiestas, con que se celebró la dedicación del suntuosísimo templo del Calvario de Esquipulas (1759) de Alonso de Arcos y Moreno es un caso atípico por ser el autor el propio presidente de la audiencia de Guatemala. Esta circunstancia, aunada al tópico de la falsa modestia, le impidió elaborar un panegírico de sí mismo en el cuerpo de la relación, por lo que ese papel fue asumido por los autores de los paratextos. Esta inversión de las funciones de cada uno de los textos que componen la relación permitió elaborar un bien diseñado proyecto para impulsar en el imaginario popular la asociación de la figura del presidente con la mayor devoción religiosa del reino de Guatemala. 

El presente trabajo analiza las imágenes generadas en torno a los artistas una vez fallecidos. Pues como cualquier individuo, su cuerpo efímero acaba en la putrefacción, mientras que su condición de personaje público lo distancia del resto proporcionándole otro cuerpo para ser honrado. De esta forma, su memoria pervive. En primer lugar, se recorrerán los precedentes de la imagen fotográfica post mortem para posteriormente explorar algunas imágenes fotográficas de artistas muertos durante los siglos XIX y XX, haciendo especial hincapié en las dudas que suscita el ámbito nacional y en la doble función de estos artefactos: como objeto de recuerdo y como signo de propaganda, ya que ambas ideas conviven en este tipo de documento. Finalmente, el artículo se centra en el entierro de Vicente Blasco Ibáñez, sus fotografías post mortem y los problemas que las rodean.

Before architects resorted to photographers to spread their work internationally, photography, whose practice has been tied to architecture since its beginnings, played a key role in the birth of the modern avant-garde. Perhaps this is a more interesting aspect, since at the end of the 1920's, more specifically between the years 1927 and 1929, a moment of special importance for the definition of the concept of modernity that would be used extensively by the fine and visual arts and, by extension, by modern architecture. Like architecture, in the first decades of the 20th century, photography underwent a radical transformation. Photography evolved from the pictorial images with which the 19th century was characterised to the so-called straight photography, in that the scenic effects were replaced by precision, the sharpness of the image and the indiscriminate use of photomontages as a creative process.

With this issue Ra, Revista de Arquitectura reaches its first 10. It is an appropriate moment, despite such a short history, to look back briefly. It is not about a celebration, nor a self-gratifying examination –this new issue adds nothing to the editorial line taken then, but rather serves to thank and recognise all those people who have contributed, for the great effort which it takes to create an academic journal of these characteristics in the immense publishing panorama that surrounds us. As the habitual lyrics sung and popularized by the group “Golpes Bajos”, “bad time for poetry”, that one must remember is the title of a poem by Bertold Brecht, (an expression that the Royal Academy of Language (RAE), already includes in the dictionary to explain the adjective “bad”).

[Ideograms] is a free and unorthodox personal reflection on one of the many journeys of thought that have taken place –and take place, between Europe and Latin America. A journey between both continents, initially linear, but that later multiplied to give rise to a system of reflections, echoes and even deceptions that widened their meaning exponentially. An intense journey in itself, but that I will try to intensify even more as a way to make evident the fundamental relationship between critical thought and projects, between ideas and things, words and drawings, or between theory and practice, to urgently dissolve such unnecessary differentiations.

The only philosophy which can be responsibly practised in the face of despair is the attempt to contemplate all things as they would present themselves from the standpoint of redemption; all else is reconstruction, mere technique. Perspectives must be fashioned that displace and estrange the world, reveal it to be, with its rifts and crevices, as indigent and distorted as it will appear one day in the messianic light.

The heterogeneous work attributed jointly to the architect founders of the OTAISA company, is almost always remarkable but not well-known nor sufficiently known, with still many undiscovered or analysed. The Universidad Laboral of Seville is, if not their most suggestive and complete architectural work, their riskiest, most complex and open of all the projects directed by Rodrigo and Felipe Medina, Luis Gómez and Alfonso del Toro while they were associates. Conceived in 1952, work began in 1954, and it was partially running in 1956, it was still being built in 1965 and was discontinued as a labour institution in 1972, when the educational activity stopped. Its architecture, although damaged by deterioration and the traumas of the refurbishing, is still valid and continues to draw attention. Arrangements, structures, relationships, facilities and shapes not very common in the Spanish architecture of the postwar period, were proposed in this eccentric system of buildings, in this set of areas and compatible environments to certain linguistic ideas of delayed rationalism, indebted to some compositional and functional proposals of the Modern Movement, to some of those ideas adapted to the local conditions and demands of the developers. There are more than a few units that have been demolished of the set of buildings that made up the original complex, always unprotected against the urgency of the renovations inconsiderate to patrimony and abandoned to changes. Few of the buildings have not been transformed to the University of Pablo de Olavide, a public institution that uses it today as its main campus. Of all the original architecture projected by the OTAISA company there are two independent buildings that standout: the Gymnasiums and the Workshops. The following text essentially documents and analyses this endangered architecture.