La imagen devocional en la orden de Nuestra Señora de la Merced: tradición, formación, continuidad y variantes.

Abstract

With protestant Reformation a new one begins reconquers of Faith. The new slavery that mercedarios try to rescue, supposes to embark in crossed one against Protestantism. The Pope and Church one will find in Order of Mercy a good arm executor of directives tridentines, and this one will adapt its monasteries like centers in whose walls, dogmatic tridentine is shaped. As of this moment and during baroque period, their goods in rejuvenated of monasteries and foundation of new do not scrimp. They contract for this aim best artists: Pacheco, Alonso Vazquez, Zurbaran, Espinosa, Carducho, Reyna, Pontons, Palomino, Vergara... Although until century XVI greater efforts of Order had been for the.redemption of captives, contrarreform tridentine will create in mercedarios necessity to remove from legend and history brightness necessary to promote cult to its preclear children. In literary sources we found keys of adjustment of Order to directives tridentines. Writers of own religious Order as Gaspar de Torres is key to understand paper of Order of Mercy during I conciliate of Trento because, although this one did not participate directly, had in father Santa Maria mercedari presence from salmantina institution in conciliate of Trento. The father Francisco Zumel, disciple of Towers, will write up in 1588 definitive text of reform of Constitutions of Order, that contains, basically, all ideas pointed by Towers twenty-three years before. In these writings, of end of century XVI, they found inspiration first narrative reliefs of Pedro of Block for Mercy of Valladolid, with scenes of Foundation of Order of Merced and Nolasco to rescue of captives; or first pictorial series, like which they take shape in claustro of Mercy of Seville, in first years of century XVII. These paintings of convent of Mercy of Seville were entrusted by fray Juan Bernal to Francisco Pacheco and Alonso Vazquez. Remembering which death of Fray Juan Bernal is dated in 1601, orders had to be previous to that date. Of this series it is possible to emphasize picture of Pacheco, who is in National Museu d'Art of Catalonia, San Pedro Nolasco Desembarca with redeemed prisoners, work painted for claustro great in 1601. One is a complex picture, with different scenes, and has his antecedent historiado in attributed picture to Alonso Vazquez, San Pedro Nolasco releasing to captives. In fact, in picture of santo one uses as same model. As of first years of century XVII, we found referring and allegories in engravings artistic, like which it orders Fray Isidro de Valcazar in 1610 to Pedro Perret, most known which institoris will be Navis. The second part of investigation is based on an extensive work of field in which it is analyzed, from sources studied in previous chapters, evolution of images and consolidation of iconograficos types that make specific subjects of iconography in Order of Mercy. The work of field, in search of images that confirmed raised hypotheses, began with a simple formula of inventory of images; but fact to participate in group of investigation APES, that develops its work by means of qualifying method of images ICONCLASS, motivated a change in card system used, with possibility of incorporating corpus of images to a future project. The group of investigation APES. Image and Culture , directed by Rafael Garci'a Mahiques, are creating a great data base of Hispanic iconography (Spanish and Latin American) by means of qualifying system ICONCLASS, as one formulates complete of catalogue of images. The international system of classification of images ICONCLASS, created by Dutch iconografo Goes of Waal, systematically classifies iconograficos types of a hierarchized form, to time that allows to incorporate new subjects constantly to be prepared to index new icnograficos types; by his character of opened fields, it allows variety of content fields, becoming an instrument by possibilities that combinatoria of data offers. In addition to data of allegiance from images to fields of location, formal and stylistic, this card form makes specific in each image fields of meaning and culture, concretion of literary sources and bibliography that mentions images, etc. The discipline to that we have put under card catalogue work justifies its peculiar numeration; one that corresponds to my scope of work in data base APES, it begins with number 005000 and it has an intermittent continuity due to character opened in construction of data base and that so and as I aim has continuity solution. This second part of work, constituted by catalogue of images, is completed with chapters five and six dedicated to its analysis. The scheme of work in these chapters leaves from first images of each representation, foundation of representations, literary sources that justify appearance of types, influence of engravings and variants in iconograficos types. In these chapters mercedarias representations to canonical devocionales images of Christian santoral have been limited: Virgin of Mercy, Virgin of Puig, san Pedro Nolasco, san Ramon Nonato, san Pedro Armengol, san Serapio; san Paschal Pedro, santa Maria Cervello and Mariana de Jesus. They would be left other subjects in art of Mercy that without a doubt can be treated by other works of investigation: like architecture in Mercy, galleries of pictures, particular devotions, canonized, venerable and mercedarios martyrs I do not illustrate in art... The extension is evident that supposes artistic contribution of Order of Mercy, to try to approach it in an only doctoral thesis. The third part of this study opens doors to future works of investigation, and its presence I consider it necessary. The seventh chapter and epilogue show key aspects in evolution of mercedaria iconography. Chapter seven deals with figure of mercedario fray Juan Interian de Ayala and his contribution to Christian iconography with published most important treaty on this one subject in Spain: The Pictor Christianus. This book deserves by himself only a critical edition work, work nonmade until present. Interian de Ayala, in first quarter of century XVIII, raises a revision of Christian art in agreement with doctrine of Trento; between aspects that treat, like it was to hope, are mercedarias devocionales representations. The work of Interian will have its importance in mercedarias representations of century XVIII, swan song of iconography in Order of Mercy, influenced by I conciliate of Trento. The epilogue turns on a very particular aspect that presents/displays mercedaria iconography in America: evolution of devocional image of Mercy of Conqueror to liberating.Como member of CIAL, I have not wanted to let pass occasion of present work to treat an aspect, of American mariana iconography, that only occurs in art of Mercy. The first scenes of American earth conquests appear whitened by mercedarios habits that they accompany conquerors. We see how engravings influence in the didactic representations and catequeticas that will populate American convents in centuries XVII and XVIII. Finally, we see as America invocation of Mercy of slaves and captives becomes symbol of independence. The insurgents even erect, by to be liberating, Virgin of Mercy like pattern of armies (Argentina, Peru, Chile...) or as pattern of nation as it is case of Ecuador. The symbolic sense of the liberating invocation takes shape in a political instrument and referring iconografico in new nations.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 6 citations exist upstream.