Models, images and powers in Medieval art, from the Suevic Kingdom to the transition to Gothic
Code
722061097
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
História da Arte
Credits
10
Weekly hours
3 letivas + 1 tutorial
Teaching language
Portuguese
Objectives
To understand the relevance of medieval art, from the 5th century Suevi to the birth of the Gothic, through a series of thematic case studies ranging from Antiquity models to the transformations artistic, cultural , philosophical, economical, social and political - operated between the 12th and 14th centuries;
To cognize facts and case studies, from several European contexts, that place the parameters of evolution of the Peninsular medieval art in its diversity, approaching, in a critical and comprehensive way, the Portuguese medieval artistic production;
To critically assay the subjects essential bibliography, including some of the most recent scientific contributions, at a national and international level;
To approach some of the most recent contributions in history of art, including the evolution of burial structures, the meaning of centralized plans, the rapports amidst the classical heritage and the barbarian contributions, or the contact/influences between West and East.
Prerequisites
Subject matter
1 Art in the Early Middle Ages:
1.1 - Byzantium, from Constantine to the influence of the East;
1.2 The Irish and Anglo-Saxon north;
1.3 Merovingians and Carolingians between the Ancient tradition and the medievalism;
1.4 The Iberian Peninsula: Suevi, Visigoths and Asturians;
2 Pantheons, mausoleums and other burial and/or centralized architectural structures:
2.1 The centralized plan: from the mausoleums of Augustus, Adrian and Diocletian, past the Holy Sepulcher, the Dome of the Rock and Santo Stefano Rotondo of Rome, to the Romanesque round churches;
2.2 The evolution of centralized plan in the Iberian kingdoms: from Bande, Montélios to Tomar;
3 The rapport between privileged burial spaces, temples and monuments, and the way they are linked to the evolution of society, 11th to the 14th century:
3.1 - Galilees, addorsed pantheons, private chapels and pantheon- churches;
3.2 Arks, recumbent statues and coats of arms
Bibliography
- A.A.V.V. (2002), Avant-nefs & espaces daccueil dans l´église entre le IVe et le XIIe siècle, Paris : Éd. CTHS
- A.A.V.V. (2002), Decorations for the Holy Dead, Turnhout : Brepols
- A.A.V.V. (2003), The White Mantle of Churches. Architecture, Liturgy, and Art around the Millennium, Turnhout : Brepols
- ALMEIDA, C.A.F. (1986), Hist. Arte em Portugal. Arte da Alta Idade Média, Lisboa: Alfa, vol. 2
- GONÇALVES, António Nogueira (1980), Estudos de História da Arte Medieval, Coimbra: Epartur
- KRAUTHEIMER, Richard (1971), Studies in Early Christian, Medieval and Renaissance Art, Londres: London University Press
- MONTEIRO, Manuel (1980), Dispersos, Braga: ASPA
- RODRIGUES, Jorge (2011), Galilea, locus e memória. Panteões, estruturas funerárias e espaços religiosos associados em Portugal, do início do século XII a meados do século XIV: da formação do Reino à vitória no Salado (tese de doutoramento)
- SILVA, José Custódio Vieira da (1997), O fascínio do fim, Lisboa: Horizonte
Teaching method
Seminars will be theoretical-practical, encompassing the analysis and discussion of relevant artistic samples shown in class, with related field trips. Each student will prepare and propose its own personal participation program in the seminar, as well as its evaluation, within the established framework.
Evaluation method
The evaluation will consist of a research paper/project on a specific subject, proposed by the student, pending acceptance by the teacher (75%), with a final presentation and discussion in class (25%).