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Master's Dissertation
DOI
https://doi.org/10.11606/D.8.2017.tde-08052017-120244
Document
Author
Full name
Mariana Pincinato Quadros de Souza
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2016
Supervisor
Committee
Pereira, Maria Cristina Correia Leandro (President)
Bredariolli, Rita Luciana Berti
Moraes, Tamara Quírico
Tacconi, Ana Paula Tavares Magalhães
Title in Portuguese
Uma imagem entre dois mundos: um estudo sobre o mosaico do Juízo Final de Torcello (Veneza - século XI)
Keywords in Portuguese
Arte bizantina
Arte medieval
Juízo Final
Modelo iconográfico.
Mosaico
Torcello
Abstract in Portuguese
A Basílica de Santa Maria Assunta, localizada em Torcello, uma das ilhas que compõem a Laguna de Veneza, abriga um programa iconográfico de três painéis em mosaico, caracterizados como bizantinos. Em um deles, na contrafachada, está figurado o painel do Juízo Final, nosso objeto de estudo. Produzido na segunda metade do século XI, ele inaugura (juntamente com o afresco de SantAngelo in Formis, na cidade de Cápua) a tradição de representação monumental desse tema iconográfico na Itália, aproximando-se do chamado modelo bizantino clássico, encontrado em Constantinopla a partir do século XI. Há, porém, algumas diferenças em relação aos exemplares conhecidos desse modelo bizantino, como o suporte e a localização em uma contrafachada de uma igreja. Assim, nossa preocupação nesta dissertação foi dupla: por um lado, analisar tais diferenças e, por outro, discutir o que levou à escolha deste tema ainda pouquíssimo comum para ornamentar uma igreja, buscando entender seus modos de funcionamento e as funções que desempenhava, tanto na igreja e em seu programa iconográfico quanto na própria sociedade veneziana da época de sua confecção.
Title in English
An image between two worlds: a study on the Torcellos mosaic of the Last Judgment (Venice 11th century)
Keywords in English
Byzantine art
Iconographic model
Last Judgment
Medieval art
Mosaic
Torcello
Abstract in English
The Basilica of Santa Maria Assunta, located in Torcello, one of the islands in the Venetian Lagoon, houses an iconographic program of three mosaic panels, characterized as Byzantine. In one of them, on the counter-façade, is figured the panel of the Last Judgment, our object of study. Produced on the second half of the eleventh century, it inaugurates (together with the fresco of Sant'Angelo in Formis, in the city of Capua) the tradition of monumental representation of this iconographic theme in Italy, approaching the so-called "classical Byzantine model", found in Constantinople from the 11th century. There are, however, some differences from the known examples of this Byzantine model, such as the support and the location on a churchs counter-façade. Thus, our concern in this dissertation was twofold: on the one hand, to analyze such differences and, on the other hand, to discuss what led to the choice of this very uncommon subject to decorate a church, trying to understand its modes of functioning and the functions it performed, both in the church and in its iconographic program, as well as in Venetian society itself at the time of its confection.
 
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Publishing Date
2017-05-08
 
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